Adobe has expanded its work with Speechmatics to deliver cloud-grade speech recognition on-device for its Premiere editing software that the company says can run accurate on-device transcription locally and is powerful enough for professional work.

Speechmatics has been Adobe's partner since 2021, when Adobe became the first non-linear editing platform to include speech-to-text (STT) in Premiere. The new feature deepens with a new on-device STT model in Premiere that delivers near-cloud accuracy while keeping all audio local to the device.

When Adobe launched STT for Premiere, large enterprises couldn't always use cloud-based services due to privacy concerns. Speechmatics was one of the few providers with on-device models—a key reason for the partnership.

Five years later, those privacy requirements haven't changed. With the rise of LLMs and data sovereignty concerns, the need for secure deployments has, in fact, increased. What has changed is the performance gap: Speechmatics' new on-device model brings local transcription on par with cloud accuracy with optimisations to run efficiently.

This means, Adobe explained, that studios, agencies, and production companies handling content before it goes public can now work seamlessly from anywhere: on a film set, between client meetings, on a flight—at full accuracy, with no dependency on a connection and no interruption to the work.

The new Speechmatics on-device model has been trained on millions of hours of speech to deliver high accuracy for accented speech, non-native speakers, and noisy environments like field reporting or film sets. As a result, Adobe said that the new on-device model in Premiere:

• Is within 5% relative to cloud accuracy, evaluated across nearly 10 million words of diverse real-world data
• Processes 1 hour of audio in about 55 seconds
• Leads the way against the closest competitor, with a 12-16% improvement against Whisper-powered creative solutions
• Runs on Windows & Mac, making use of the latest AI acceleration techniques to ensure efficient processing across a range of hardware, including broad hardware support for the latest Mac M5, NVIDIA RTX, AMD GPUs and older hardware such as Intel Macs.

Speechmatics on-device joins Speechmatics cloud and Speechmatics on-prem as a purpose-built option for ISVs and OEMs where data residency, offline capability, or predictable costs make local execution the right architectural call. It integrates as a C/C++ library on macOS and Windows.

BURLINGTON, Mass.—Avid has released data showing that the filmmakers, editors and sound teams worked with Avid Media Composer and Pro Tools to create the vast majority of this year’s Academy Award®-winning pictures.

In total, 87% of winning productions were crafted using Avid solutions, reinforcing Avid’s long history as the creative platform trusted for the world’s greatest storytelling, the company reported.

“Well-deserved congratulations to all the filmmakers, editors and sound teams recognized at this year’s Academy Awards,” said Wellford Dillard, CEO of Avid. “These films didn’t just entertain audiences – they moved, thrilled and inspired millions of people. We’re proud to see the world’s most important stories shaped by artists using Avid tools as part of their creative process. That’s what drives us every day – building technology that helps the world’s greatest creators deliver their best work.”

Filmmakers working with Avid creative solutions were recognized across major categories including Best Picture, Best Film Editing, Best Sound and Best Animated Feature Film. Winning productions include:

• Best Picture: `One Battle After Another'. Producers: Adam Somner, Sara Murphy and Paul Thomas Anderson.
• Best Film Editing:`One Battle After Another'. Editor: Andy Jurgensen.
• Best Sound: `F1: The Movie'. Sound team: Gareth John, Al Nelson, Gwendolyn Yates Whittle, Gary A. Rizzo and Juan Peralta.
• Best Animated Feature Film: `KPop Demon Hunters'. Producers: Maggie Kang, Chris Appelhans and Michelle L.M. Wong.
• Best International Feature Film: `Sentimental Value' (Norway).
• Best Visual Effects: `Avatar: Fire and Ash'. Visual effects team: Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett.
• Best Documentary Feature Film: `Mr. Nobody Against Putin' Producers: David Borenstein, Pavel Talankin, Helle Faber and Alžběta Karásková.

Alongside a wide array of this year’s winning productions, Avid also reported that its editing and audio solutions were used across the majority of nominated works in several major categories, with 8 of the 10 Best Picture nominees were crafted using Avid, 4 out of 5 editors in Best Film Editing cut their films with Media Composer, and and all Best Sound nominees used Pro Tools.

For example, Andy Jurgensen, winner of the Best Film Editing Oscar for `One Battle After Another', cut the film using Avid Media Composer®.

“This film had so many tones – comedy, drama, action – it’s so hard to compartmentalize,” said Jurgensen. “One thing I really got into on this movie was Avid’s automatic transcribing tool… When you need to find just a word or a phrase you can search and find it in all the different takes. It saved me so much time.”

The sound team behind `F1: The Movie', which won the Oscar® for Best Sound, used Avid Pro Tools workflows to craft an immersive racing experience that captured both the authenticity and excitement of Formula 1.

“What makes F1 exciting is that it is the peak of motorsport racing. It is the top of the top,” said Juan Peralta, re-recording mixer at Skywalker Sound. “One of the edicts we got from the producers of this movie was to try to make it as authentic as possible… We also were making a fun movie – we want people to enjoy it and just be on for the ride.”

Learn more about the creative process behind `F1: The Movie' here: https://connect.avid.com/f1-the-movie-lp.html

Find out more about Andy Jurgensen’s editing experience on `One Battle After Another' here: https://theroughcutpod.com/one-battle-after-another/

BOSTON—EditShare will demonstrate its latest advancements in AI-powered media operations and high-performance NVMe storage with a focus on ways broadcasters, post facilities and production teams can manage growing content volumes without increasing operational complexity during the 2026 NAB Show, April 18-22, at the Las Vegas Convention Center.

The company’s approach centers on Analytical AI, technology that analyzes media to identify and structure information, such as speech, faces, text and scenes. Unlike generative AI systems that create new content, Analytical AI focuses on understanding existing media, automatically enriching files with metadata that makes video searchable and easier to find.

Integrated across the EditShare platform and accelerated by high-bandwidth shared storage, these capabilities allow teams to find the clips they need quickly across their media libraries.

AI and intelligent workflow developments to be featured include:

• EditShare One: The latest version of EditShare’s unified interface, providing a streamlined operational view across storage, asset management and AI-powered workflows.
• FLOW AI: Within the company’s FLOW platform, AI-generated metadata enables automation and management workflows to operate without manual tagging. FLOW AI transforms media libraries and archives into dynamic, discoverable assets.
• MediaSilo AI: EditShare will introduce new AI capabilities within MediaSilo, extending intelligence directly into review and collaboration workflows. MediaSilo AI helps teams locate moments of interest, navigate content faster and streamline feedback cycles by making media immediately searchable and context-aware for stakeholders across the production process.

Alongside the new AI capabilities being introduced within MediaSilo, EditShare will also unveil new MediaSilo bundles: Teams, Pro and Enterprise. They provide scalable options for organizations of any size. These bundles bring together core collaboration capabilities, including forensic watermarking, single sign-on (SSO) and unlimited AI, giving production teams access to advanced functionality without the pricing barriers traditionally associated with high-end review platforms.

MediaSilo also enables teams to collaborate with an unlimited number of external stakeholders, making it easy to involve clients, partners and reviewers throughout the production process.

EditShare will also spotlight the continued evolution of its Ultimate EFS lineup featuring support for demanding media workflows across leading creative applications, including Avid Media Composer, Adobe Premiere Pro, DaVinci Resolve, Final Cut Pro, Autodesk Flame and Baselight.

The company’s Ultimate EFS developments include:

• Ultimate EFS NVMe Lite: A compact eight-drive NVMe storage node delivering up to 14 GB/s throughput per node with up to 122 TB raw NVMe capacity.
• Ultimate EFS Hybrid: A flexible, cost-effective storage node combining an ultra-fast NVMe tier and a high-capacity HDD tier in a single system. The NVMe tier delivers up to 9 GB/s throughput with up to 122 TB NVMe capacity, complemented by up to 192 TB of HDD storage for compressed media and longer-term project storage.

EditShare will again partner with Lasergraphics to showcase high-resolution film scanning captured directly into an Ultimate EFS NVMe storage node.

See EditShare at 2026 NAB Show booth N1251.

More information is available on the company’s website.

PARIS—Dalet today unveiled Dalet Flex LTS, a major update that makes the platform more intuitive for a wider range of users, accelerates editing and collaborative workflows and introduces foundational AI capabilities to support next-generation, agent-driven experiences with Dalet’s Dalia agentic AI solution.

Dalet Flex is fast to deploy and intuitive to use, enabling broader adoption of professional-grade media workflows across the organization. Broadcasters and sports teams, along with brands, agencies and marketing teams use Dalet Flex to ingest, create, manage and distribute media with enterprise-grade control, governance and performance.

“This release allows Dalet Flex to support media wherever it’s created and distributed,” said Aaron Kroger, director of product marketing at Dalet. “For broadcasters, that means expanding laterally across the enterprise to support more teams, workflows and content types without adding complexity. For marketing, brand and content teams, it removes complexity from media production, making it easier to create, manage and reuse high-quality content with professional-grade tools. At the same time, this release introduces core capabilities that prepare customers for the next phase of innovation with Dalia.”

A highlight of the release is a new semantic search experience that makes large media libraries easier to navigate and far more discoverable. Dalet Flex now enables users to find assets by meaning and context, helping teams locate relevant content even when metadata is inconsistent, incomplete or created in different languages.

Embedded directly into Dalet Flex, semantic search enables multilingual discovery, allowing users to search across catalogs where content may be logged or tagged in different languages. Users can also combine semantic discovery with exact metadata filters, such as rights, region, format or resolution, enabling faster, more precise access to usable content.

"With semantic search, users no longer need to know the data model, the metadata schema, or which fields were used to tag content. They just describe what they're looking for. This is a fundamental shift; it democratizes access to the archive, letting anyone on the team find relevant content without training on the system's data model or relying on someone who knows where things are stored,” said Erwan Kerfourn, head of product for Dalet Flex.

The Dalet Flex LTS release includes a significant upgrade to Dalet Xtend for Adobe Premiere workflows, designed to improve speed, mobility and reliability for editors working across distributed environments. New capabilities include:

• Offline mode to continue editing uninterrupted during network disruptions, with automatic synchronization upon reconnection.
• Streaming mode to access content directly in Adobe Premiere without downloading full files or proxies.
• Smarter remote rendering workflows, including intelligent job routing across Adobe Media Encoder resources.
• Expanded support for modern editorial workflows with improvements to project handling, rendering and version control.

The Flex LTS release advances Dalet’s initiative to make Dalet Flex easier and more efficient for users with UI refinements and new viewing options, such as Dynamic Tile View, allowing users to adapt layouts for tasks like shot selection or high-volume browsing without repeatedly opening previews.

The release also strengthens core platform capabilities supporting enterprise media operations. Enhancements include improved handling of large-scale IMF workflows, addressing complex packaging and distribution requirements for high-resolution, HDR and multi-variant deliverables. In addition, Dalet Ingest Portal with intuitive web-based scheduling is now available.

Dalet Flex LTS also introduces Dalet AI Services, a new foundation for embedded AI capabilities that run directly within Flex environments, whether on premises, in the cloud or in distributed deployments. Initial capabilities include built-in multilingual transcription.

The release is designed to support Dalia, Dalet’s agentic workflow solution. Dalia is currently in testing with early adopters and will be widely available starting in Q2.

More information is available on the company’s website.

LONDON—As Europe’s largest media company, Sky Group delivers premium content at a scale few media companies can match. Operating across multiple markets has meant managing a patchwork of siloed systems, inconsistent tooling, different operational practices and varied compliance requirements, preventing us from fully leveraging economies of scale.

Our challenge required not only a technically innovative approach to future-proof Sky’s content supply chain, but also a long-term strategic solution that would unify operations across the Group.

In short, we needed a radical shift onto a single platform.

One Group, One Platform
To address this, we built Media­Mesh, a unified cloud platform that centralizes QC, enrichment, conversion, and distribution at scale. The MediaMesh architecture—an API-driven, modular framework—brings together a curated ecosystem of in-house built microservices and products from leading industry partners, each selected for their ability to solve specific pain points.

For this project, we partnered with several companies, including SDVI, whose Rally platform provided the base layer that integrates with new and legacy tooling to retrieve metadata and media from dispersed systems and storage, in order to orchestrate content through the group’s platform.

Telestream’s Qualify serves as the automated quality control (QC) function at ingest, validating assets against Sky’s technical standards before proceeding further. Through close collaboration with operations, years of QC data were audited to optimize a system that flags issues early and reduces false positives compared to legacy tools, significantly minimizing manual review effort and downstream issues.

AWS ran AI to identify on-screen subtitles and spoken language to automatically identify localization requirements to fast-track downstream dubbing and subtitling efforts. This language detection has also allowed Sky Italia viewers to filter content by precise audio language, unlocking new levels of discoverability and personalization.

Codemill’s Accurate.Video platform not only plays back content, but provides a collection of audio controls, the ability to enable/disable subs and dubs for review and can present different time-based markers along a timeline (e.g., segmentation points, QC errors, sections needing localization).

We also deployed TMT Insights’ Polaris, which provides operations with a single platform identity, abstracting them from the multiple backend services, to streamline their operational practices. The Polaris UI provides visibility into metadata, end-to-end monitoring, workflow anomalies, prioritizes task management for steps requiring human intervention, communication threading and launching specialized functions such as editing tasks, various exports and ad hoc workflows. These functions help operations meet critical SLAs with confidence, reduce touchpoints, and speed up time to air.

Whether it’s ingesting content from over 300 content partners, enriching it with metadata and access services, or distributing it to platforms like Sky Glass and NOW, MediaMesh ensures every step is automated, observable, and streamlined. And the elastic scalability allocates sufficient system resources to meet the changing business demands.

To deliver a platform as ambitious as MediaMesh, we had to rethink not just our technology stack, but our internal capabilities. This meant evolving from a traditional broadcast engineering mindset to a software-first organization. TV engineers retrained as software engineers, embracing cloud-native development and modern DevOps practices. This transformation has not only accelerated delivery but fostered a culture of continuous improvement and innovation.

Business Benefits
By centralizing workflows, we can develop and deploy features once, rather than duplicating effort across multiple systems, delivering consistent benefits across the entire group. This streamlines internal investment and speeds up our time-to-market when delivering new features. Today, MediaMesh processes more than 2.7 million assets annually, equating to more than 10 million minutes of content, and manages around $2 billion worth of media across our ecosystem.

As we continue to evolve MediaMesh, we’re exploring new ways to enrich content, streamline compliance, and personalize viewer experiences across markets. The platform’s modular design ensures we can adapt quickly, whether it’s integrating new services, responding to regulatory changes or supporting future product launches. MediaMesh has laid the foundation for a more agile, scalable and collaborative future at Sky, and we’re excited to build on this momentum to shape next-generation content processing.

More information is available at www.telestream.net.

LOS ANGELES—I’m the super­vising editor for NBC’s “The Voice,” which is produced by MGM Television and recorded on the Universal Studios lot. I was the first editor hired on the show 15 years ago, and I’ve been on every episode since—that’s 700 episodes and nearly 1,100 hours of broadcast programming over the last 15 years.

We use Avid as our editing solution. The major advantage of using Avid is we start and finish everything in Avid. From offline to final online to color, everything is done inside of that.

Right now, we have about 35 editors, including about eight to 10 assistant editors. I think another dozen producers and story producers are also all accessing the media, all able to see everything, and they’re all remote. And I don’t mean we have some in Burbank and some in L.A. We have people in North Carolina; we have people in Virginia. We’ve had people in Maine and Japan; we’ve had people all over the world working on our show.

A Unified Solution
Having one, unified program that handles all of that has been absolutely beneficial and the cornerstone of our being on the air. I don’t think there’s any other production that hits the Avid hardware and software nearly as hard as we do.

I’m on Media Composer with the Symphony option and so are two of my online editors. The reason for that is we start and finish everything on “The Voice” inside of Avid, including color, final online and output of the master.

We use a lot of image stabilization. Those save our show because it’s a huge concert, and those cameras jiggle, and there’s nothing worse than seeing your artist or your coach jiggling around. I’d say easily between 600 to 900 stabilizations will be done in a two-hour episode.

We also use the “Animatte” effect in Media Composer for multiple reasons. We don’t like to break the fourth wall by showing camera people running through the audience, so we use that to duplicate audience members to hide cameras. We want viewers to be engaged in the performance, and if you see some guy running across the stage with a camera, that kind of pulls you out of it. Avid gives us the proper tools to maintain our illusion, to maintain the moment, without having to go to an external program.

Creating a Uniform Feel
Every episode of “The Voice” is a challenge because of the nature of the show. In an average two-hour episode, we introduce 13 to 15 new “characters,” if you will. Each story needs to have a life of its own, but we have to have some type of uniform feel to the show so when you turn it on, you recognize “The Voice” for what it is.

Our editors are constantly striving to give enough individuality to each of the story pods to showcase each artist individually, as well as maintain a high level of editorial status and make sure that editors are also as creative as possible, but without going completely astray.

We know our audience has faith in what we do and what we say about our show is real. When the first note comes out of an artist on stage—with the coaches’ backs to them in their chairs—that is the first time coaches hear them or see them when they turn. The audience sees our artists in their stories beforehand, but the coaches don’t get any of that information. It is legitimate; that’s the first note that the coaches ever hear. ●

More information is available at www.avid.com.

ORLANDO, Fla.—I started my first TV job in 1985 in the Orlando market at WESH-TV, loading 2-inch carts into an ACR25 for commercial playout and news playback on ¾-inch tape. At the same time, Florical Systems released its first product, TimeShifter. Since then, I moved on to Betacart, live shot acquisition and master control while Florical stepped up the technology with ShowTimer and AirBoss.

Forty years later, we’re both still here—my employer, Hearst Television, which acquired WESH in 1998, operates 35 stations nationwide. Every day, we manage the flow of syndicated shows, network feeds, commercials and promos that need to reach the air without fail.

My current role is to make sure that content is prepared, validated and delivered to our stations in a way that is both reliable and efficient. Ingest and media asset management sit at the center of this process, and over the past two years, we’ve transformed how we handle them with Florical.

The Deployment
We began rolling out Florical’s ingest and asset management module in 2024 with the goal of creating a stronger foundation for how content enters our ecosystem—whether that content is coming in from distributors, agencies or internal production teams. By putting ingest and asset management in place first, we were able to establish group-wide consistency in how files are received, cataloged and validated.

Earlier this year, we completed the next phase of that transition, moving our stations onto Florical’s AirBoss automation for playout. Having the ingest and asset-management tools already in place made that transition much smoother, because the content feeding automation was already standardized and predictable.

Stephanie Sobiech, our content coordinator, is on the front line every day, handling program and promo distribution and working directly with incoming feeds from Pathfire, PitchBlue, Extreme Reach, OTSM and our networks. With Florical, she no longer has to manually track whether a file is complete or in the right format; the system validates incoming content automatically and flags any problems before they reach the air chain. That has freed her to focus on higher-level coordination instead of chasing technical errors.

Commercials and syndicated programming represent another critical part of our workflow, and Florical has helped us bring real efficiency to that process. At Hearst, we operate on a “touch-once, distribute-to-many” model.

A single program or commercial may need to be delivered to 25 stations, and Florical’s workflows allow us to handle that with economies of scale. The content is ingested and validated once, then mapped and distributed to all the stations that need it. Our dedicated commercial preparation and approval team depends on these workflows every day to ensure spots and shows are delivered consistently group-wide. Instead of repeating the same steps, they can focus on confirming the content is correct and ready, knowing the distribution piece is handled efficiently.

The benefits extend to housekeeping, as well. Because the system manages distribution centrally, we can avoid duplication and unnecessary storage at the station level. At the same time, archived content remains accessible through AWS, so if a station needs to pull material back, it can be retrieved quickly without adding complexity to the local workflow.

Error Reduction
Since completing the rollout, the biggest change I’ve seen is consistency across the group. Whether it’s Stephanie managing syndicated feeds, the commercial team approving spots or operators checking final playlists, everyone is working under the same ingest and distribution standards. We’ve reduced manual errors, shortened turnaround times and freed people to spend more energy on coordination and quality control rather than on chasing missing files.

Looking forward, the metadata foundation we’ve built with Florical puts us in a strong position for the next phase of automation. AI-assisted workflows that can reconcile traffic logs, detect anomalies, and even self-correct ingest issues will depend on having robust and consistent metadata. For us, that future starts with the reliability we’ve already gained from
Florical’s ingest and asset-management tools.

More information is available at www.florical.com.

SPRINGFIELD, Ore.—In 2007, I began filming Mark Warmer restoring an Mopar Muscle Car and the “Graveyard Carz” series began. Shortly thereafter, Warmer and I co-founded production company The Division, focusing on reality television, and today “Graveyard Carz,” a reality show chronicling the restoration of Mopar Muscle Cars that are often deemed beyond repair, is the longest-running series on MotorTrend’s linear network.

Over the years we’ve learned a lot, particularly when it comes to streamlining workflows and increasing efficiency. We’re a small crew, handling virtually everything in-house: shooting, editing, mixing, color correction, producing, mastering, delivering and social media. (I even do voiceover for the show.)

Better Collaboration
Previously, our post workflow was hampered by the fact that any last-minute edits involved changing multiple projects and tracking multiple changes across multiple versions. In moving to DaVinci Resolve Studio, I was most excited by team collaboration via Blackmagic Cloud. My hope was that I could color-correct while my fellow executive producer, Jeffrey Osborns, could mix—in a proper DAW [digital audio workstation], like DaVinci Resolve’s Fairlight. Even more, I hoped that our talented editor and animator Nick DeAngelo would be able to add b-roll—all simultaneously. We still have some details to iron out, but overall, I’m very pleased with the improvements to our workflow.

While the move to DaVinci Resolve Studio and Blackmagic Cloud was an essential step forward, I thought why not streamline further by bringing editing into production (vs. just post) for larger, multicam shoots with an ATEM Television Studio HD8 ISO switcher?

I knew the ATEM ISO model shined when used with DaVinci Resolve for postproduction, so why not direct and capture episodic shoots in a live production style, with pre-edited segments enhancing efficiency, while maintaining the flexibility to further edit in post?

For these shoots, we record onto the local hard drive, saving the .DRP file (i.e., a DaVinci Resolve Project file) along with it. This enables us to switch cameras and direct the shoot in a “live” style while maintaining the flexibility to edit afterwards. The ability to edit with proxies and then switch to Blackmagic RAW at the push of a button for final grading is unique. This can be a fast and appealing workflow if you don’t mind working with multiple cameras in the sync bin.

Pre-Editing Segments
Now, we can pre-edit larger segments while making sure we have coverage of the action. We use headsets to communicate during the shoot, with the ATEM operator informing the crew which camera is being used or how to adjust a shot. While this live directing approach is something we’ve done without a switcher, it’s a terrible waste of resources when it’s so easy to have someone simply push buttons and edit the segment live. It gives the editor a huge leg up when they have a large segment.

Additionally, it’s much more pleasant for a producer to watch something that appears to be edited. It’s also possible to mix cameras in this workflow, and even to process the resulting .DRP in such a way as to produce a classic multicam clip, if that workflow is more appealing.

As an independent production company, we have leveraged social media for promotion from the very beginning—so using the ATEM for multicam live streams is also exceptionally valuable to us. We’ve used it to live stream on social media platforms, and I am confident we will continue to do so.

For more information, contact Blackmagic Design at
408-954-0500 or visit www.blackmagicdesign.com.

WASHINGTON—When I started Broadcast Management Group, our goal was simple: to make high-end broadcast production accessible anywhere, without compromise. Over the past few years, that vision has evolved into something much bigger: a fully connected, cloud-enabled production ecosystem that supports everything from major network shows to global corporate communications. At the heart of it all is Grass Valley’s AMPP ecosystem, which powers every aspect of our operation.

Our new network operations center, aka the “BMG Cloud Control Center” in Washington, D.C., represents a complete rethinking of how we deliver media services. It’s not just a facility; it’s our private cloud, where all of our production, playout and media asset management (MAM) systems live. Grass Valley’s AMPP and Framelight X are at the core of that infrastructure, providing the flexibility, scalability and reliability that today’s broadcast clients demand.

Unified Operations
Inside the NOC, our Grass Valley K-Frame switchers anchor the control rooms, and every one of our mobile trucks uses Grass Valley LDX cameras for live capture. We’ve also built a centralized video shading room powered by GV Creative Grading, which means our engineers in D.C. can shade cameras anywhere in the country. It’s an incredibly powerful way to unify our operations and deliver consistent quality across every production.

When people talk about cloud production, they often think of lightweight tools or “good enough” solutions. That’s not what we do; we’re handling Tier 1, broadcast-level productions that demand reliability, redundancy and performance. AMPP gives us that—a virtualized platform that combines the horsepower of traditional infrastructure with the agility of the cloud. It’s the operational heartbeat of our entire company.

We run two main business lines: live production and managed broadcast services. On the live side, we package major news, sports and entertainment events for networks nationwide. On the managed services side, we design, build and operate facilities for clients—everything from control rooms and studios to podcast and streaming setups. What ties all of it together is our AMPP-powered private cloud. Whether a client wants a fully local setup, hybrid workflow or completely remote operation, we can spin it up instantly through AMPP.

A great example of this in action is our work with UBS Financial. They were consolidating offices in New York and wanted a new studio and control room, but without the overhead of maintaining all their own backend infrastructure. We rebuilt their systems from the ground up and connected everything directly into our NOC. Their editing workstations, playout channels, and storage all reside in D.C., powered by Grass Valley AMPP and Framelight X. Their editors log in remotely and can cut files in real time, even while shows are on air and more video is being recorded.

That’s a massive leap from where they were, relying on portable drives to store nearly 30 terabytes of content a year. Now, every asset is searchable, secure and immediately accessible, not just in New York but potentially across UBS’s global offices. That’s what the future of live production looks like: Instantaneous, global and flexible.

The Future of Live
We’re applying the same model for VPM, a PBS affiliate in Virginia, by building an entire broadcast facility, all Grass Valley cameras and AMPP Asset management.

Grass Valley has been an exceptional partner in this journey. Their technology gives us the backbone to support enterprise-grade operations while scaling effortlessly for creative demands. Together, we’re proving that cloud production doesn’t mean compromise, it means opportunity. With AMPP and Framelight X, we can deliver broadcast-quality production from anywhere, for anyone, at any scale. And that’s exactly where the future is headed.

More information is available at www.grassvalley.com.

FREMONT, Calif.—Blackmagic Design said the Associated Press has completed the transition of its global video-editing platform to DaVinci Resolve Studio.

The large-scale enterprise deployment includes several hundred licenses, supporting AP’s 24/7 global news operations and helping enable the creation of more than 1,500 video projects daily.

“AP produces video from more than 100 countries, delivering content to thousands of broadcasters, publishers and digital platforms every day,” said Derl McCrudden, AP vice president and head of global news production. “In support of that crucial journalism, we are working with DaVinci Resolve Studio to equip our journalists with state-of-the-art editing and production tools.”

The deployment included extensive integration with AP’s workflows and involved the development of several new capabilities in DaVinci Resolve Studio designed with breaking news in mind. These improvements included Growing Transport Stream Editing, which allows journalists to begin working on live incoming video feeds directly from AP’s media asset management system without waiting for complete file transfers. This means video can be cut and distributed within seconds after footage arrives.

As part of the deployment, AP now uses DaVinci Resolve Studio’s cloud-based preset and graphics distribution system, including graphics templates, project settings and export settings. This eliminates manual downloads and ensures branding and production standards are maintained across all locations.

Resolve has also been integrated with AP’s MAM to enable scalable cloud rendering. By distributing project rendering to cloud-based nodes, AP can automatically scale capacity during major news events and scale down when demand decreases. This reduces reliance on local rendering by journalists and editors, keeping workstations free for creative work and optimizing infrastructure costs, the companies reported.

The deployment has also simplified the software-management process. With single sign-on license management, AP uses Blackmagic Cloud to monitor, assign and redistribute Resolve licenses across its global user base.

As part of the deployment, AP journalists and field operatives were also given a comprehensive training program focused mainly on storytelling rather than technical editing. AP super-users collaborated with DaVinci Resolve Certified Trainers to develop an internal video-on-demand library, enabling staff to learn at their own pace and ensuring sustainable knowledge transfer.

BURLINGTON, Mass.—Avid has today announced the release of Pro Tools 2025.10, a feature-rich update that the company said offers notable advances in immersive music creation and workflow efficiency.

Designed for music creators and postproduction professionals, the latest Pro Tools version introduces powerful new immersive audio capabilities with Sony’s 360 Reality Audio, integrated SoundFlow automation, in-app tutorials, and six new Inner Circle Rewards.

“This new version of Pro Tools is all about access and ease of use – making complex immersive audio more intuitive, workflow automation more seamless, and high-value creative tools more available to users,” said Chris Winsor, director of Pro Tools Product Management at Avid. “Whether you’re mixing spatial music, speeding up repetitive tasks, or exploring Pro Tools for the first time, this updated version delivers capabilities that help creators stay in their flow and elevate their work.”

The Pro Tools 2025.10 release continues Avid’s momentum in music and post innovation by streamlining creative workflows, accelerating routine tasks, and enhancing access to professional-grade tools that empower creators to deliver exceptional audio content from anywhere, the company explained.

Notably, Pro Tools 2025.10 delivers native support for 360 Reality Audio, enabling artists and producers to position sounds all around the listener – above, below, and on all sides – placing them at the center of an immersive musical experience. Built on Sony’s object-based 360 Spatial Sound technology, this integration enables seamless 360 Reality Audio content creation directly within a Pro Tools session, while offering:

The upgrade provides effortless format conversion from Dolby Atmos to 360 Reality Audio, with stems and settings carrying over automatically, which means that users can continue to mix and edit in both formats within the same session

Included limited versions of the Audio Futures WalkMix Panner and 360RA WalkMix Renderer for Pro Tools Studio and Ultimate subscribers and perpetual license holders with a current support and upgrade plan.

“By integrating Sony’s 360 Reality Audio directly into the Pro Tools environment, artists and producers can now explore new creative dimensions – all without switching out of their trusted workflow,” said Winsor. “This is a powerful step forward in delivering the immersive experiences today’s listeners are seeking.”

Jordy Freed, senior director, deputy head of Sony’s Personal Entertainment Business, added: “360 Reality Audio opens a bigger creative canvas inside Pro Tools – making immersive music creation more accessible and giving artists and producers the tools to push the boundaries of spatial sound and connect with listeners in bold new ways.”

The new version also allowed users to automate complex tasks with SoundFlow in Pro Tools

Avid has integrated SoundFlow, the industry’s leading workflow automation platform, directly into Pro Tools. All users now gain access to 1,700+ free prebuilt macros, allowing them to automate repetitive actions like bouncing stems, creating tracks, and navigating complex sessions.

Available in all versions of Pro Tools, the new SoundFlow panel keeps creators in the zone by enabling powerful shortcuts at a keystroke. Premium SoundFlow subscribers can unlock deeper functionality, including access to their full macro library, Flows, and an AI-powered Session Assistant – a natural language automation tool that understands context and runs complex tasks instantly at the user’s command.

“Avid’s integration of SoundFlow is a pivotal step toward a more intuitive studio future,” said Christian Scheuer, founder and CEO of SoundFlow. “Together, we’re putting world-class automation directly in the hands of every Pro Tools user – enhancing productivity and empowering creativity.”

A new “Learn” tab, powered by SoundFlow, offers interactive tutorials that walk users through key workflows such as audio recording, MIDI editing, and navigating the UI. These hands-on demos make Pro Tools more approachable for new users and faster to master for pros looking to expand their skills.

Pro Tools 2025.10 delivers six new Inner Circle Rewards from Avid’s top-tier plugin and content partners. Available to annual Pro Tools subscribers and perpetual customers on active upgrade plans, the latest rewards include:

• Acon Digital Verberate 2 – transparent reverb with realistic spatial simulation
• Acon Digital DeBleed:Snare – AI-powered snare bleed removal
• Nightfox Audio Rendition Lite – MIDI chord/arpeggio plugin for fast songwriting
• Three Leap Expansions for Kontakt Player – loops and samples to inspire new ideas

Other enhancements to Pro Tools 2025.10 include: speech-to-Text enhancements, including offline and batch transcription; and UI Customization, Dark Mode support, and MIDI workflow optimizations

Pro Tools 2025.10 is available to all Pro Tools Artist, Studio and Ultimate subscribers and perpetual license holders on active plans as well as Pro Tools Intro users. Learn more about the new features at www.avid.com/pro-tools.

SEATTLE—LumaTouch is partnering with CNN Academy to improve mobile storytelling techniques and support training across all of CNN Academy’s training simulations, master classes, courses and workshops.

As a result of this partnership, LumaTouch’s LumaFusion, a professional multitrack editing platform for mobile devices, will become the exclusive video editing application taught across CNN Academy training programs.

CNN Academy was established to nurture the skills and talent of the next generation of journalists and content creators, offering advanced training and mentorship across multiple continents.

“This partnership marks a significant step in bridging the gap between media training and practical application in today’s rapidly-evolving digital landscape.” LoumaTouch Co-Founder Terri Morgan, co-founder of LumaTouch.

As part of the agreement, LumaTouch has also worked closely with CNN Academy in a number of areas:

• Co-Developed Course Development: CNN Academy and LumaTouch have jointly developed a course on Mobile Storytelling, featuring best practices and tutorials on using the LumaFusion app. This course will be made available to all CNN Academy Hub users.
• Training Support: LumaTouch is providing LumaFusion training support throughout the CNN Academy programs, including virtual workshops, Q&A sessions and resource materials.
• LumaFusion Free for All: CNN Academy Students: LumaTouch is also providing the LumaFusion mobile video editing app free of charge to all CNN Academy students for the duration of their participation in the program.

CNN Academy is CNN’s international training program, designed to nurture the next generation of journalists by offering hands-on learning, mentorship, and access to real-world newsroom experiences. For more information, please visit https://academy.cnn.com.

For more information about LumaTouch please visit luma-touch.com .

FREMONT, Calif.—With the 2025 Sundance Film Festival now underway, Blackmagic Design has announced that more than 40 notable projects at event were created using its products, including its digital film cameras, DaVinci Resolve Studio editing, color grading, visual effects (VFX) and audio post production software, and more.

The projects included “André is an Idiot,” “LUZ,” “Twinless” and “Ricky,” that were shot with Blackmagic Design cameras, and projects such as “If I Had Legs I’d Kick You,” “Dead Lover,” “Rains Over Babel (Llueve sobre Babel),” “Plainclothes” and “Opus” that relied on DaVinci Resolve Studio throughout post production.

According to “André is an Idiot” DP Ethan Indorf: “We used the URSA Mini Pro 12K as our two shot when André was talking with Tommy Chong, and the URSA Mini Pro 4.6K G2 on a few interviews in the film. The Pocket Cinema Camera 6K Pro came in handy when our A cam was tied up on the car rig. It was lightweight and quick to fire up when time and space were an issue.”

In Sundance’s “LUZ,” dual stories of challenging family dynamics unravel in Chongqing and Paris, with the characters’ lives colliding in a virtual reality (VR) world as they begin parallel quests to rekindle familial love. DP Benjamin Echazarreta used a Blackmagic Pocket Cinema Camera 4K digital film camera to capture the VR sequences, noting: “We mounted the Pocket on a small gimbal and fixed it to the actors to capture POV shots, bringing the VR world to life. We chose the Pocket since its lightweight, compact design and cinematic image quality allowed us capture the unique POV shots we were after.”

Sundance 2025 projects that used Blackmagic Design cameras and gear during production and post included:

• “André is an Idiot”: DP Ethan Indorf used Blackmagic URSA Mini Pro 12K, Blackmagic URSA Mini Pro 4.6K G2, and Blackmagic Pocket Cinema Camera 6K Pro digital film cameras as B and C cameras;
• “Come See Me in the Good Light”: Editor Berenice Chávez and Assistant Editor Aliyah Bryant used DaVinci Resolve for testing and online conforming;
• “LUZ”: DP Benjamin Echazarreta used Pocket Cinema Camera 4K to capture the VR parts of the film, including mounting the camera on an actor for POV shots;
• “Omaha”: DP Paul Meyers, ASC used DaVinci Resolve Studio to grade dailies;
• “Rains Over Babel (Llueve sobre Babel)”: Editors Gala del Sol and Hadley Hillel used DaVinci Resolve Studio to edit the film, along with Assistant Editors Jose Varón and Felipe Aguilar;
• “Ricky”: Director Rashad Frett and DP Sam Motamedi used Pocket Cinema Camera 6K Pro to capture interviews and DaVinci Resolve Studio for dailies;
• “Sunfish (& Other Stories on Green Lake)”: DP Marcus Patterson used DaVinci Resolve for LUTs and dailies;
• “Together”: Editor Sean Lahiff used UltraStudio 4K Mini capture and playback devices while editing the film, while DIT Reece Flemming used Blackmagic Video Assist 7” 12G monitor/recorder, DaVinci Resolve, various Smart Videohub routers and Blackmagic MultiDock 10G disk array;
• “Twinless”: DP Greg Cotten used Blackmagic Cinema Camera 6K digital film camera for second unit work and car mounted scenes and DaVinci Resolve for on set previewing and dailies; and
• “The Wedding Banquet”: DIT Richard McSweeney used Blackmagic Videohub 20x20 12G router, SmartScope Duo 4K monitor and UltraStudio 4K Mini.

Sundance 2025 Projects that used DaVinci Resolve and DaVinci Resolve Studio for grading included:

• “André is an Idiot,” graded by Marcy Robinson of Nice Shoes;
• “Atropia,” graded by Mikey Rossiter of Rare Medium;
• “Bulldozer,” graded by Pat Fitzgerald of Light Iron;
• “Bunnylovr,” graded by Josh Bohoskey of Rare Medium;
• “Come See Me in the Good Light,” graded by Stephen Derluguian;
• “Dead Lover,” graded by Conor Fisher;
• “En Memoria,” graded by Ayumi Ashley of Rare Medium;
• “Hal and Harper,” graded at Picture Shop by Tom Forletta;
• “Heightened Scrutiny,” graded by Shanna Maurizi of Dungeon Beach;
• “If I Had Legs I’d Kick You,” graded by Nat Jencks of PostWorks New York;
• “It’s Never Over, Jeff Buckley,” graded at Company 3 by Andrew Geary;
• “The Librarians,” graded by Marcy Robinson of Nice Shoes;
• “Marlee Matlin: Not Alone Anymore,” graded by Luke Cahill of Different by Design;
• “Middletown,” graded by Luke Cahill of Different by Design;
• “Move Ya Body: The Birth of House,” graded by Jack Lewars of PostWorks New York;
• “Opus” graded by Mitch Paulson of Picture Shop;
• “Out For Delivery,” graded by Ayumi Ashley of Rare Medium;
• “The Perfect Neighbor,” graded by Allie Ames of PostWorks New York;
• “Peter Hujar’s Day,” graded by Andrew Geary of Light Iron;
• “Plainclothes,” graded by Nat Jencks of PostWorks New York;
• “Predators,” graded by Brian Boyd;
• “Prime Minister,” graded by Frederik Bokkenheuser of Picture Shop;
• “Rains Over Babel (Llueve sobre Babel),” graded by Elliott Powell with a DaVinci Resolve Mini Panel;
• “Sabar Bonda,” graded by Himanshu Kamble of Bridge PostWorks;
• “Seeds,” graded by Natacha Ikoli at Nice Dissolve with DaVinci Resolve Mini Panel, as well as DaVinci Resolve for iPad and Blackmagic Cloud;
• “Serious People,” graded by TJ Seiler and Mikey Rossiter of Rare Medium;
• “Sorry, Baby,” graded by Marcy Robinson of Nice Shoes;
• “Sugar Babies,” graded by María Carretero;
• “Sweet Talkin’ Guy,” graded by Alastor Arnold of FotoKem;
• “Third Act,” graded by Sam Zook of Mom&Pop;
• “Tiger,” graded by Andrew Francis of GAHBA Studios;
• “Together,” graded by Sean Lahiff;
• “Touch Me,” graded by Drew Tekulve of Paradox Post; and
• “The Virgin of Quarry Lake (La Virgen de la Tosquera),” graded by Leo Fallas of Fermento Color.

BURLINGTON, Mass.—Avid has introduced Media Composer 2024.6 of its video editing software, offering a new Transcript Tool for PhraseFind, enhanced compatibility with Avid’s Pro Tools audio production software and expanded availability of Avid Huddle, the company’s cloud service for real-time collaborative editing sessions.

The latest version enhances Avid PhraseFind with the Avid Ada AI. The new Transcript Tool allows editors to work more efficiently by letting them jump to specific moments in a clip based on spoken phrases, editing directly from selections in the transcript into the timeline, the company said. 

Media Composer 2024.6 also improves integration with Pro Tools, adding support for sub-frame automation for volume and pan, improving compatibility with Pro Tools and providing editors with more creative control. Pro Tools also can now export Media Composer-compatible session files that preserve essential metadata, it said. 

The release makes Avid Huddle available for all versions of Media Composer and Avid | Edit On Demand. Editors can stream the audio/video output of Media Composer directly to collaborators connected via Microsoft Teams, allowing for real-time reviews, time-stamped annotations and discussion. Time-based text comments can be imported back into Media Composer as markers to streamline content revisions, the company said.

More information is available on the company’s website.

MADISON, Wisc.—Vegas Creative Software has announced a major new upgrade to its flagship Vegas Pro video/audio editing, color grading, effects, and cloud-integrated content management and acquisition tools, Vegas Pro 22. 

Vegas Pro 22 introduces several carefully chosen AI features designed to handle labor-intensive tasks and free users to fully express their creativity, giving "AI" a new meaning: Assistance with Intention.

In the new version, Vegas Creative Software said that it has taken a measured and intentional approach to integrating AI capabilities into its workflow. This ensures that all AI features are designed to assist artists and content creators and to ease tedium in their workflows while providing them complete control and creative freedom in their work. Vegas Creative Software calls this approach Assistance with Intention.

Vegas Pro 22 also introduces a number of new features and capabilities that bring sophisticated video and audio editing tools to creators of all skill levels. Key new features introduced in Vegas Pro 22 include:

• AI Text-Based Editing: Users can create a transcript and edit it—for example, delete a section of text or cut and paste text—and Vegas Pro automatically edits the project timeline to match those edits. This workflow can greatly speed up the editing process for dialogue-based projects, such as interviews.
• AI Dehaze: This plug-in analyzes video for hazy elements, such as smoke, fog and smog and removes those elements in order to create a more crisp, clearer image. .
• AI Sharpen: The AI Sharpen tool analyzes the edges of objects in a video and enhances them to give the image a crisper, clearer look.
• AI Smoothen: This feature automatically softens small details in a video while preserving sharp edges. This can result in a cleaner, more stylized look where fine details are smoothed out, but edges remain clear. Users can choose to give their video a subtly softer appearance or increase the range to create more of a special effect.
• AI Auto Reframe: Automatically reframes video when the delivery size of the final render does not match the original aspect ratio. For example, if a standard widescreen video needs to be delivered in a square format for Instagram or other channels, this tool shifts focus to the most important object in the video and keeps it centered in the new frame size while it crops other material out.
• Multicam Audio Sync: Synchronizing multicam events in Vegas Pro based on the audio from the clips the events hold has never been this accurate. In Vegas Pro 22, users can now select multiple events and quickly synchronize them with options optimized for the type of audio contained in the clips.
• Beat Detection: Beat Detection analyzes an audio file (or audio in a video file) and identifies unusual energy in the low-mid and low-end of the audio frequency range. This type of energy often corresponds to a significant “hit point” in the video where an edit might make sense. Embedded markers serve as snap objects for easy identification and editing in sync with these hit points.
• Tempo Detection: The Tempo Detection tool analyzes a piece of music (or the music in a video file) to determine the tempo of the piece and automatically sets the project properties to match the detected tempo. Users can easily set the timeline ruler to measures and beats and use the grid as orientation and snap points for seamless edits in time with the music.
• Set Project Tempo: These new menu options make it easy to set the project’s tempo. Users can easily open the project audio properties and enter the desired tempo. The timeline ruler set to Measures and Beats accurately reflects the tempo, and users can edit precisely on measures and beats of the music.
• Timeline Selection Improvements: Timeline selection techniques have been refined to make selecting events even easier. An intuitive left-click on an empty timeline space now enables users to start a selection rectangle and select desired events.
• New Welcome Screen: Through the Welcome Screen, users have quick access to new-project setup, previous projects, and materials to help them get the most out of Vegas Pro as quickly as possible.
• Explorer Window Redesign: The Explorer window has been reimagined and newly designed to provide a more efficient user experience. It’s now easier to navigate to your media files, preview them, and organize your view as well as to access media details.

Vegas Pro 22 is available in two options. 

Vegas Pro Ideally suited for pros, content creators, aspiring editors, novices and even consumer/enthusiasts who want the pure Vegas editing experience, Vegas Pro includes: Vegas Pro 22; 10GB of cloud storage (20GB available with subscription plan); Cloud-based Text-to-Speech and Speech-to-Text capabilities; Vegas Content: 300 royalty-free HD video and/or audio clip downloads (600 royalty-free HD video and/or audio clip downloads with subscription plan). 

Regular Pricing is $19.99 USD/mo (monthly payments); $95.88 USD/year (one-time payment per year); $199.00 USD for a new perpetual license. 

Vegas Pro Suite is designed for aspiring and professional content creators like filmmakers, social media influencers, YouTubers, and others, Vegas Pro Suite includes: Vegas Pro 22; Mocha Vegas; SOUND FORGE Pro; ACID Pro; 50GB of cloud storage (100GB available with subscription plan); Vegas Content: 500 royalty-free HD and 4K video and/or audio clip downloads (unlimited royalty-free HD and 4K video and/or audio clip downloads with subscription plan); Speech-to-Text and cloud-based Text-to-Speech capabilities. 

Regular Pricing is $24.99 USD/mo (monthly payments); $119.88 USD/year (one-time payment per year); $249.00 USD for a new perpetual license. 

For a complete list of new features or to purchase Vegas Pro 22, please visit here.

BURLINGTON, Mass.—Avid has launched Avid Huddle, an SaaS solution that gives post-production teams the ability to collaborate and accelerate content review and approvals.

Editors using Media Composer | Ultimate, Media Composer | Enterprise or Avid | Edit On Demand in a hybrid environment can now easily share high-quality media during a live Microsoft Teams meeting. Remote reviewers can collectively view, discuss and comment in real time from anywhere as if they were working in the same room, the company said.

“Collaborating to review video content during post-production is challenging when the creative team is distributed across multiple locations," said Tanya O'Connor, Avid vice president of market solutions. "Avid Huddle helps teams jump this barrier and truly embrace distributed working. 

"Finally, remote over-the-shoulder content review with any production stakeholder is achieved simply by using one of the world’s most widely available collaboration apps.” 

Editors can launch a Teams meeting safely from Avid Huddle without leaving Media Composer. This enables Teams participants to review content with full confidence that it is secure and protected, the company said. 

Avid Huddle allows producers, clients and other reviewers to give immediate feedback to editors by virtually adding time-stamped comments and annotations while discussing content through a live session, it said.  

“With the help of the secure and ubiquitous Microsoft Teams platform, Avid Huddle brings a true paradigm shift to the way TV shows, movies, commercials and other content can now move through review and approval with speed and economy. Most importantly, we’re enabling an exceptional video and audio streaming experience that’s just like looking over the shoulder of an editor at work in Media Composer,” said Simon Crownshaw, director of Microsoft's worldwide media and entertainment strategy.

Avid Huddle will be available as a flexible monthly or annual subscription. It allows users to scale up or down as required and only pay for what editors need when they need it. Only the host needs to have an Avid Huddle subscription. Participants can join sessions through Microsoft Teams, Avid said.

More information is available on the company’s website.

The power of AI (artificial intelligence) will be central to Avid’s product offerings at the NAB Show between April 13 and 17 in Las Vegas.

For instance, Avid’s Inspiration Station open sessions at booth #SU2014 (which are being offered hourly throughout Sunday, Monday and Tuesday) are showcasing Avid Ada AI-powered tools for accelerating creative workflows. The sessions are also demonstrating how Avid’s alliance partners are extending the capabilities of Avid’s editing tool Media Composer with API-powered workflows. They include ‘lens to first edit' with Haivision, First Mile and Marquis; dailies with Autodesk Flow Capture; lightweight asset management with ioMoVo; ingest and archive with Spectra Logic; VFX with Doom Solutions; and integration with Storage DNA.

Avid is spotlighting the latest changes to its news production solution MediaCentral. According to the company, MediaCentral’s new capabilities include enhanced browser-based editing with audio waveforms, more powerful search tools, Blueprint Builder for workflow planning, enhancements to the Rundown app, plus new AI enhancements powered by Avid Ada. 

Demonstrations will show how Avid Ada uses AI to automate speech-to-text transcription, summarization, and language translation. They’ll also show the many AI-powered tools already in Avid solutions today – such as PhraseFind AI and ScriptSync AI in Avid Media Composer, facial detection and scene recognition in Avid MediaCentral, plus a preview of transcription services and recommendation engines.

The latest release of Avid’s software-based ingest and playout solution Avid | Stream IO is on display at 2024 NAB Show. Designed for production teams transitioning from SDI to IP and wanting to use cloud and hybrid workflows, Stream IO supports formats from low resolution proxy up to UHD, in two-, four- and eight-channel configurations for ingest and playout. There will also be a demo showing how a journalist editing in the web-based MediaCentral | Cloud UX can write a script, record their voiceover to the timeline, and then ask the AI service to identify relevant footage that matches a selected section of the story.

As well, visitors can see how Avid Pro Tools (audio postproduction market) has added features for dialog, re-recording, ADR, and mixing, with previews of several new features, including:

• ARA integration of essential audio post plugins like iZotope RX, Synchro Arts VocAlign, and Sound Radix Auto Align.
• Dropbox Replay integration with Pro Tools to accelerate review and approval workflows.
• Immersive audio workflows, including live re-renders for Dolby Atmos, using Pro Tools’ internal renderer.
• Dialog workflow enhancements like track markers, and memory locations.
• Saving of Pro Tools sessions as Media Composer-compatible files, complete with sample-accurate volume and pan information, plus markers.
• Drag and drop of Pro Tools sessions directly into Media Composer bins.

In addition to third-party integrations with Media Composer, Avid is highlighting third-party apps available on its MediaCentral news platform including:

• AI-driven transcript and caption creation, and language translations from TRACO and Digital Nirvana.
• Avid | Edit On Demand ‘lens to first edit’ integrations with Sony and Marquis for proxy workflows and high-resolution file transfers.
• X.News which allows users to incorporate social media content into their story creation and rundown. 

SUNRISE, Fla.—The NHL’s Florida Panthers video production crew here has transformed its workflow in response to growing demand for the team’s content following a string of successes, including its 2023 Stanley Cup playoff appearance—the first in 27 years.

At the center of the new workflow are storage systems and management tools from EditShare that enable a more fluid and secure workflow to create and deliver content for in-house screens and scoreboards as well as for fan engagement online and content delivered via the team’s custom app, the company said.

Working with sales engineers from 76 Media Systems, now part of Starin Marketing, the team developed a solution around an EditShare 256TB EFS300 storage appliance installed at the Amerant Bank Arena where the Panthers play, it said.

The ground storage network is linked and synchronized to an EditShare cloud implementation. The hybrid on premise-cloud architecture allows shooting teams on the road with the Panthers to upload content via a VPN, making it immediately available for post and delivery. The hybrid approach adds storage redundancy, securing content, it said. 

Key tools like FLOW workflow and asset management and FLEX cloud synchronization are core parts of the technology that make the system easy to implement and intuitive to use, said Dennis Docil, senior director of content services for the team.

“Before coming back to the Panthers, I worked for Ion Media Networks, and they were one of the first users of EditShare,” he said. “When we were looking for a solution, we looked at the market, [and] EditShare seemed to be the most user friendly for what we needed it to do. It gave us the slick workflows we need to keep on top of our exponentially increasing workloads.”

Supporting many video streams is an important aspect of this deployment. At game time, the EditShare EFS300 ingests live content from eight cameras and live coverage and shots from Bally Sports Network. At the same time, it also feeds the scoreboard and all the video screens around the arena, the company said.

The system also enables the video production team to generate a lot of content to engage fans via the team’s website and app. The Panthers also have a large retail shop alongside the team’s new practice facility in Fort Lauderdale, Fla. Multiple screens at the facility create interest and excitement in the team and players as well as drive merchandise sales, it said.

More information is available on the company’s website.

LONDON—Cloud native video editing platform provider Blackbird has announced that  CBS19 has chosen browser-based Blackbird for professional, collaborative and scalable video editing and publishing for its broadcast and digital workflow. 

CBS19 in Charlottesville will deploy Blackbird to provide its editors, producers, social teams and reporters  with the full Blackbird edit suite to immediately access field footage, wire packages and  IP/SDI feeds, seconds behind live, from anywhere. Using the platform’s professional grade  toolset to edit content collaboratively, users can publish at speed to multiple digital and  broadcast endpoints including social media and playout, the company reported. 

“We are excited to have Blackbird in our newsroom,” CBS19 general manager, Mark Kurtz, commented. “Blackbird gives our staff a state-of-the art tool that is on the forefront of editing technology. It will allow our reporters and producers  to create content quickly while seamlessly tying into our existing infrastructure to serve our  linear and digital platforms.”

“We are delighted to welcome CBS19 on board alongside our existing news customers,” said Blackbird CEO, Ian McDonough. “Blackbird drives huge efficiencies as a centralizing tool in a newsroom environment  integrating seamlessly with existing workflows without the need for a large capex investment.  By enabling instant access to incoming content from multiple sources with lightning-fast turnaround, Blackbird is emerging as a linchpin tool in a fast paced newsroom.” 

CBS19 is a Charlottesville based TV station delivering local news, weather and sport to the  Charlottesville area across mobile, digital & TV. Parent company, The Lockwood Broadcast  Group, is a television, digital and advertising company based in Richmond, Virginia, owning  and operating 12 stations and 33 channels across 8 designated markets across the US. 

Blackbird’s multi-award-winning professional cloud video editing and publishing platform is  designed for fast paced and evolving newsroom workflows and is already deployed  across multiple TV stations across the United States. Customers include Univision, IMG, Sky News Arabia,  BT, NRL, Cheddar news, the US Department of State and 69 local US news stations with  Blox Digital.  

More information is available here: 

BURLINGTON, Mass.—Private equity firm STG has completed its $1.4 billion acquisition of Avid Technology in an all-cash transaction, Avid said today.

The acquisition was announced Aug. 9 and approved by Avid stockholders on Nov. 2. Under the terms of the merger agreement, Avid stockholders will receive $27.05 per share. As a result of the completion of this transaction, Avid common stock ceased trading prior to the opening of trading on Nov. 7. It will no longer be listed on the Nasdaq Stock Market. Avid will operate as a privately held company and remain headquartered here.

“By becoming a private company, we believe Avid will be able to achieve the speed of innovation, scale and performance required for us to continue leading the industry forward,” said Jeff Rosica, Avid’s Chief Executive Officer and president. “Combined with their significant operational and financial resources, STG brings deep investment experience in the technology sector that will accelerate the achievement of Avid’s strategic vision, building on the momentum of our successful ongoing transformation achieved over the past several years.”

More information is available on the company’s website.

MADISON, Wisc.—Vegas Creative Software has announced what it is billing as an industry-first new pricing model called Vegas Pro 365+ that combines the best of both worlds, perpetual licenses and subscriptions as part of the Company’s SmartScription program.

For customers, this means that after two years, if they decide to cancel their subscription, they are entitled to get a perpetual license for the latest version of their product. With this, they can keep using Vegas Pro for as long as they like, so they will never lose access to their projects. No other content creation platform in the industry offers this level of flexibility for their subscriptions. 

Given Vegas Pro’s annual release cycle, every Vegas Pro 365+ subscriber will typically get access to three consecutive releases. As such, it is also the smart choice for customers who prefer owning a permanent license, as they save 40% compared to purchasing a perpetual license and two upgrades, the company said. 

During the time of their subscription, they benefit from all the special value features and functionality exclusive to subscription, such as cloud storage, cloud-based Text-to-Speech, and access to Vegas Content royalty-free HD video/audio clips. 

Vegas Creative Software caters to the diversity of content creators with a variety of products to meet their specific requirements and budget, whether they favor perpetual ownership or subscriptions, the company said. With today’s announcement of the new 365+ option, Vegas Pro 21 is offering the smart choice for both of these preferences.

Vegas Pro 21 is available in three options:

• Vegas Pro Edit. Ideally suited for professional content creators, aspiring editors and even novices who want the pure Vegas Pro editing experience, Vegas Pro Edit includes Vegas Pro 21, 20GB of cloud storage (available with subscription plan), Speech-to-Text and cloud-based Text-to-Speech (available with subscription plan), Vegas Content with 20 royalty-free HD video/audio clips per month (with subscription plan). Pricing:  New: $287.76  (365+ two year subscription with option to keep a perpetual license); $19.99 USD/month (monthly contract); $143.88/year (one time payment per year); $199.00 for a new perpetual license. (Price for version upgrades for perpetual license owners is $149.00).
•  Vegas Pro Suite. Designed for aspiring and professional content creators like filmmakers, social media influencers, YouTubers, and others, Vegas Pro Suite includes: Vegas Pro 21 with SOUND FORGE Audio Studio - complete audio editing solution; ACID Music Studio - loop-based music production; Mocha Vegas - motion tracking software; Boris FX Primatte Studio - chroma keying software; 50GB of cloud storage (available with subscription plan); Speech-to-Text and cloud-based Text-to-Speech (available with subscription plan); Vegas Content: unlimited royalty-free HD video/audio clips per month (with subscription plan). Pricing: New: $383.76 (365+ two year subscription with option to keep a perpetual license); $34.99/mo (monthly contract); $191.88/year (annual contract, prepaid); $299.00 for a new perpetual license (price for version upgrades for perpetual license owners is $199.00) 
•  Vegas Pro Post. Developed for content creators who require a complete video/audio editing and high-end compositing and RAW image compositing workflow experience, Vegas Pro Post includes: Vegas Pro 21; Vegas Effects for high-end compositing; Vegas Image for RAW image compositing; SOUND FORGE Pro - professional audio editor; ACID Pro - creative loop-based DAW; Mocha Vegas - motion tracking software; Boris FX Primatte Studio - chroma keying software; 100GB of cloud storage (available with subscription plan); Speech-to-Text and cloud-based Text-to-Speech (available with subscription plan); Vegas Content: Unlimited access to royalty-free HD and 4K video and/or audio clip downloads (available with subscription plan). Pricing: New: $599.76  (365+ two year subscription with option to keep a perpetual license); $44.99/month (monthly contract); $299.88 (annual contract, prepaid); $399.00 for a new perpetual license (price for version upgrades for perpetual license owners is $299.00). 

More information is available here. 

WATERTOWN, Mass.—EditShare will launch technology upgrades and new functions to enable higher performance and greater connectivity during IBC 2023, Sept. 15-18, at RAI Amsterdam.

The company will highlight the addition of NVMe (non-volatile memory express) solid-state storage capabilities to its EditShare One for greater performance in intensive workloads and Swift Link, which improves data throughput performance between remote workstations and Elastic File Systems (EFS) by 10 times. In July, it announced a new EditShare One user interface, which also will be shown, the company said.

Based on the latest Gen11 platform from HPE, the NVMe module has 24 drives per node, with user-selectable capacities. EFS supports multiple nodes, so users are free to construct the storage architecture that best meets their business and productivity requirements. This new platform gives systems architects a high level of performance without sacrificing the protection and reliability central to the EditShare approach, it said.

Users at home or on a remote location connected via VPN can preview and edit both proxies and high-res media by using EditShare Connect with built-in Swift Link and its automatic latency detection.

EFS optimizes the connection around the network latency, delivering more flexibility for remote users without changing the equipment they use or the way they work. The user doesn’t need to know that they are on a high-latency connection; EditShare Connect will determine that for them and adjust accordingly, it said.
The new release ships with Ubuntu 2020 and is beginning to introduce SAML (security assertion markup language) within SSO (single sign-on) authentication for externally facing FLOW applications. Together, these provide practical and very effective protection against cyber-security attacks, it said.
See EditShare at IBC 2023 Stand 7.A35.

More information is available on the company’s website.

BURLINGTON, Mass.—Following reports that Avid was in talks with a private equity group regarding a potential sale, Avid has announced that it has entered into a definitive agreement to be acquired by an affiliate of STG. 

The deal, which is expected to close in Q4 2023, is an all-cash transaction valuing Avid at approximately $1.4 billion, including Avid’s net debt. 

Upon completion of the transaction, Avid will become a privately-held company, and its common stock will no longer be traded on Nasdaq.

The companies said that Avid stockholders will receive $27.05 in cash for each share of Avid common stock, which represents a premium of 32.1% over the company’s closing share price on May 23, 2023, the last full trading day prior to media speculation regarding a potential sale of the company.

“Since our founding over 30 years ago, Avid has delivered technology that enables individuals and enterprises who create media for a living to make, manage and monetize today’s most celebrated video and audio content across the globe,” said Jeff Rosica, Avid’s CEO and president. “We are pleased to announce this transaction with STG, who share our conviction and excitement in delivering innovative technology solutions to address our customers’ creative and business needs. STG's expertise in the technology sector and significant financial and strategic resources will help accelerate the achievement of our strategic vision, building on the momentum of our successful transformation achieved over the past several years. This transaction represents the start of an exciting new chapter for Avid, our customers, our partners and our team members and is a testament to the importance of Avid and our solutions in powering the media and entertainment industry.”

“This transaction is the result of a comprehensive review of strategic alternatives for Avid,” John P. Wallace, chairman of the Avid Board of Directors added. “Upon closing, this transaction will deliver immediate, significant and certain value to our stockholders. After carefully evaluating a variety of options, the Board determined that this transaction is in the best interests of Avid and its stockholders.”  

“STG has admired Avid’s heritage as a category creator and pioneer in the media and entertainment software market for many years,” explained William Chisholm, managing partner of STG. “We are excited to partner with Jeff and the management team to build on the Company’s history of delivering differentiated and innovative content creation and management software solutions. We look forward to leveraging our experience as software investors to accelerate Avid’s growth trajectory with a deep focus on technological innovation and by delivering enhanced value for Avid’s customers.”

The transaction was unanimously approved by Avid’s Board of Directors and is expected to close during the fourth quarter of 2023, subject to Avid stockholder approval, regulatory approvals and other customary closing conditions, the companies said. 

The companies noted that the transaction will be financed through a combination of equity and debt financing and is not subject to any financing conditions. 

Goldman Sachs & Co. LLC is serving as financial advisor to Avid, and Sidley Austin LLP is serving as legal counsel. 

Rothschild & Co is serving as financial advisor to STG, and Paul Hastings LLP is serving as legal counsel to STG. 

Sixth Street Partners and Silver Point are providing committed debt financing in support of the transaction.

CUPERTINO, Calif.—Apple has unveiled Final Cut Pro and Logic Pro for iPad in a move that will allow video and music creators to use the iPad as a mobile studio to streamline the creation of local TV news, broadcast news and other types of video and audio production for TV and streaming. 

Final Cut Pro and Logic Pro for iPad will be available on the App Store as subscriptions starting Tuesday, May 23 for $4.99 per month or $49 per year with a one-month free trial. Final Cut Pro is compatible with M1 chip iPad models or later, and Logic Pro will be available on A12 Bionic chip iPad models or later. Final Cut Pro for iPad and Logic Pro for iPad require iPadOS 16.4, Apple said. 

“We’re excited to introduce Final Cut Pro and Logic Pro for iPad, allowing creators to unleash their creativity in new ways and in even more places,” said Bob Borchers, Apple’s vice president of Worldwide Product Marketing. “With a powerful set of intuitive tools designed for the portability, performance, and touch-first interface of iPad, Final Cut Pro and Logic Pro deliver the ultimate mobile studio.”

At launch Final Cut Pro and Logic Pro for iPad bring all-new touch interfaces that allow users to enhance their workflows with the immediacy and intuitiveness of Multi-Touch, Apple reported. 

Apple said that Final Cut Pro for iPad offers a powerful set of tools for video creators to record, edit, finish, and share, all from one portable device. Logic Pro for iPad puts the power of professional music creation in the hands of the creator — no matter where they are — with a complete collection of sophisticated tools for songwriting, beat making, recording, editing, and mixing. 

More specifically, Apple reported that Final Cut Pro for iPad introduces an all-new touch interface and intuitive tools — unlocking new workflows for video creators. A new jog wheel makes the editing process easier than ever and enables users to interact with content in completely new ways. They can navigate the Magnetic Timeline, move clips, and make fast frame-accurate edits with just the tap of a finger.

With Live Drawing, users can draw and write directly on top of video content using Apple Pencil. On iPad Pro with M2, Apple Pencil hover unlocks the ability for users to quickly skim and preview footage without ever touching the screen. They can also speed up their workflows by adding a Magic Keyboard or Smart Keyboard Folio to utilize key commands.

Apple also said that creators can view and edit HDR video — taking advantage of the Liquid Retina XDR display on the 12.9-inch iPad Pro — and apply color grades with accuracy using Reference Mode.

Other key features according to Apple include: 

• Pro Camera Mode and Multicam Video Editing. Pro camera mode brings even greater control to the creation process on iPad. Video creators can shoot high-quality video in portrait or landscape orientation, monitor audio and available recording time, and manually control settings like focus, exposure, and white balance. Creators can capture, edit, and publish from a single device while in the field, and on iPad Pro with M2, users can even record in ProRes.3 With multicam video editing, clips can automatically be synchronized and edited together, and users can even switch angles in a multicam clip with just the touch of a finger.
• Fast Cut Features with Machine Learning. Final Cut Pro for iPad harnesses the power of Apple silicon and machine learning to speed up time-consuming editing tasks. With Scene Removal Mask, creators can quickly remove or replace the background behind a subject in a clip without using a green screen. Auto Crop adjusts footage for vertical, square, and other aspect ratios, and with Voice Isolation, background noise can easily be removed from audio captured in the field.
• Pro Graphics, Effects, and Audio. Video creators can choose from a vast library of professional graphics, effects, and audio to enhance their storytelling. These include stunning HDR backgrounds, customizable animated patterns, and professional soundtracks that automatically adjust to the length of a video.
• Import and Export. Editors can import supported media from Files or Photos, and save it directly inside a Final Cut Pro project. Final Cut Pro for iPad also supports the ability to import projects created in iMovie for iOS,4 and iPad users can export their Final Cut Pro projects to Mac.5
• Logic Pro for iPad. Logic Pro for iPad combines the power of Logic Pro with the portability of iPad to unlock an all-in-one professional music creation app. With Multi-Touch gestures, music creators can play software instruments and interact naturally with controls, as well as navigate complex projects with pinch-to-zoom and swipe-to-scroll. Plug-in Tiles put the most useful controls at the creator’s fingertips, making it easy to quickly shape sounds. With the built-in mics on iPad, users can capture voice or instrument recordings, and with five studio-quality mics on iPad Pro, users can turn virtually any space into a recording studio. Creators can also make precision edits and draw detailed track automation with Apple Pencil, and connect a Smart Keyboard Folio or Magic Keyboard to utilize key commands that speed up production.
• All-New Sound Browser. An all-new sound browser uses dynamic filtering to help music creators discover the perfect sound whenever inspiration strikes. The sound browser displays all available instrument patches, audio patches, plug‑in presets, samples, and loops in a single location, and users can tap to audition any sound before loading it into a project to save time and stay in their creative flow.
• Professional Instruments and Effects Plug-Ins. Creators can shape the sonic qualities of their music with over 100 powerful instruments and effects plug-ins in Logic Pro. Effects like vintage EQs, compressors, and reverbs let users tweak and fine-tune their tracks. With Multi-Touch, creators can play instruments using a variety of play surfaces. Logic Pro on iPad comes with a massive collection of realistic-sounding instruments and powerful synths including Sample Alchemy — a new sample manipulation instrument that can transform any audio sample with the tap of a finger.
• Beat Making and Production Tools. Producers can chop and flip samples, program beats and bass lines, and craft custom drum kits with a set of beat making and production tools. Beat Breaker, a new time and pitch-morphing plug-in, lets music creators swipe and pinch to radically reshape and shuffle sounds. Quick Sampler can chop and transform audio samples into entirely new playable instruments, and Step Sequencer lets users program drum patterns, bass lines, and melodies, and even automate plug‑ins with just a few taps. Drum Machine Designer enables the creation of custom drum kits by applying samples and unique plug‑ins to any drum pad. With Live Loops, users can capture inspiration and quickly build arrangements by mixing and matching musical loops.
• Pro Mixer. A full-featured mixer — complete with channel strips, volume faders, pan controls, plug‑ins, sends, and precise automation — gives users everything they need to create a professional mix entirely on iPad. Multi-Touch enables creators to mix intuitively and move multiple faders at once, and the mixer meter bridge lets them quickly navigate an overview of track levels, all from iPad.
• Import and Export. Logic Pro for iPad supports roundtrip capabilities, making it easy to move projects between Logic Pro for Mac and iPad.6 iPad users can export their finished songs in a variety of compressed and lossless audio formats, as well as individual audio track stems. Music creators can make a soundtrack in Logic Pro for iPad and export it into Final Cut Pro for iPad — providing incredible flexibility for working across music and video. Logic Pro for iPad also supports the ability to open projects created in GarageBand for iOS, so users can take their music to the next level with pro features and workflows.

BURLINGTON, Mass.—Avid has launched a new partner program, Works with Avid On Demand, that enables customers to expand their workflow capabilities through a growing range of certified industry-standard tools and apps from third-party vendors. 

“Works with Avid On Demand expands the range of workflows our customers can deploy in the cloud, with the agility to easily spin up new editorial workgroups as needed, and then spin them down when projects are done,” said Tim Claman, Avid’s senior vice president and general manager of Media & Video Solutions. “Edit On Demand users now have the flexibility to access many more of the familiar tools they need to get their work done – all in a pay-as-you-go cloud service.”

In launching the program, the company explained that Avid | Edit On Demand, the turnkey editorial-in-the-cloud SaaS solution on Microsoft Azure, is relied on by television networks, post houses and filmmakers to keep their distributed teams on task and deliver projects on time.

The new Works with Avid On Demand, debuting with 12 partners, expands Avid | Edit On Demand remote workflows with tightly integrated capabilities including file- and stream-based ingest, data replication in the cloud, support for third-party creative tools, and remote content review, among others, the company said. 

Avid | Edit On Demand includes cloud-optimized Media Composer editing software and Avid NEXIS Cloud storage. The Works with Avid On Demand program now enables editors to bring complementary products into their workflows seamlessly with peace of mind that they are reliably and securely enhancing their remote collaboration.  

Many of the industry’s best-known vendors are already certified through the Works with Avid On Demand program, including Adobe, Boris, EVS, FileCatalyst, First Mile Technologies, Haivision, HP Anyware, Marquis, Microsoft, Nablet, Signiant, and StorageDNA.

“Edit On Demand brings Avid and Microsoft together in a seamless SaaS capability delivered on Azure that’s available for anyone working in film, television and other media,” said Simon Crownshaw, worldwide strategy director Media & Entertainment, Microsoft. “The Works with Avid On Demand program extends what is possible on Azure with tested Avid and Microsoft partner products supporting a broader set of workflows and enabling media organizations to capitalize on greater opportunities.”

Technology vendors interested in joining Works with Avid On Demand may contact Ray Thompson, senior director, partner & industry marketing, at Raymond.Thompson@avid.com.

BURLINGTON, Mass.—As the steady growth of video viewing intensifies the already acute demand for media production talent, Avid has announced plans to make its full-powered Media Composer editing software free to all college/post-secondary students aspiring to learn the editing craft and launch careers working in Hollywood, TV, streaming services and other media sectors.  

“Our Media Composer for Students program synthesizes the input of educators, creatives and media executives alike to make access as easy as possible for everyone,” Jeff Rosica, CEO and president of Avid said. “Together, we’re unlocking more ways to solve media and entertainment’s urgent need for a deep pool of high caliber talent, while enabling more young people to differentiate themselves with the qualifications that film and journalism schools, employers and others will instantly recognize.” 

The move is part of Avid’s new Media Composer for Students program. Learning institutions can sign up as entry-level Avid Learning Affiliates at www.avid.com/media-composer/for-students to ensure their students will gain hands-on experience with the media & entertainment industry’s requisite editing tool. 

Upon joining, a school makes every one of its enrolled students eligible for software licenses. This completely free initiative also includes teacher training and lesson materials for schools intending to establish a video editing curriculum, or re-orient existing programs toward delivering highly sought-after proficiency with Media Composer.  

Following their graduation from school, career-track storytellers will also receive up to two years of deeply discounted Media Composer | Ultimate subscriptions (retailing today for $499/year)—allowing them to stay current on Avid’s continuous feature releases. 

In announcing the program, Avid noted that the U.S. Bureau of Labor Statistics is projecting that employment of film and video editors will grow 12% from 2021 to 2031, much faster than the average for all occupations. 

Media Composer for Students is one of several initiatives shaped by Avid in partnership with its customers to enable more people to enter media production professions. Among these are the global Avid Community Association, where over 40,000 people at all levels of experience, including students, collaborate on shaping the future of media; and Avid’s new Badges & Digital Credentials program to help certified Avid users prominently display their valuable skills to employers. 

“What’s most exciting about this program is that it gives both immediate value and a long-lasting boost with the crucial tools to students who are getting ready to start out on their careers,” said American Film Institute Conservatory’s Editing Discipline Head Robert Ivison, ACE. “Media Composer is the language of professional production. When you’re fluent, you get recognized and you get work.” 

BURLINGTON, Mass.—Sinclair has announced that it is deploying a new, innovative cloud-based news and content gathering and production system that combines technologies from Avid, Sony and Marquis Broadcast. 

The new approach, which is designed to speed up its ability to delivery news content to its audiences, leverages 5G networks to reduce connectivity costs while enriching the flow of news metadata. 

“Our fundamental strategy is to democratize news acquisition, with every journalist or photographer having fast content delivery to news production centers,” explained Ernie Ensign, AVP news technology & operations, Sinclair, explained. “This transformation requires a collaborative approach to streamline the workflow. We’re engaged with Avid on its MediaCentral news production platform, Sony on cameras and C3 Portal and Marquis to enable complex workflow integrations.”

“We’ve enabled real business and operational benefits, with fast story turn-around and structured metadata automatically delivered to newsrooms,” he continued. “Our newsrooms can cut several versions of the same story to deliver to digital platforms faster and with improved relevance. We have six stations engaged to refine the technologies and we’re continually optimizing workflows for best ROI and operational outcome. There are challenges to overcome but we’re moving closer to having access to all content in near real time. The next steps are around compression efficiency to increase quality while reducing bandwidth consumption and improving metadata transparency throughout the process.”

In the new workflow, Sony’s C3 Portal news workflow provides the automatic preservation and enrichment of metadata from the point of origination. C3 Portal supports pushing metadata to the camera before shooting commences; for example, iNEWS slug information and assignment data, preserving this metadata throughout the production process when the story checks into Avid MediaCentral. Future workflows will allow rights information – and therefore genealogy – to be automatically maintained from creation throughout the edit and into archive.

“It has been a great pleasure for us to work with Sinclair, Avid and Marquis, striving to transform news acquisition,” explained Masakazu Murata, senior general manager of Media Solutions Business, Sony Corporation. “A closer integration of our C3 Portal with Avid MediaCentral to immediately deliver contents to the edit system from camera is one of the major demands from our customers and I’m pleased to confirm we have achieved this. It’s an exciting journey of joint innovation that’s already realizing operational results for Sinclair. The new workflow will help us align the roadmap for further development of the C3 Portal. Sony continues to deliver solutions to meet and exceeds the needs of customers, by creating together with partners that provide value in the video production workflow.”

A powerful component of the new solution is the ability to send proxy video quickly back to the news production center via 5G network and Sony’s C3 Portal, the companies also reported. 

The Marquis integration enables the ‘edit while record’ feature in Media Composer so stories can be edited as soon as the proxy file starts ingesting. With a wide choice of Sony proxy resolutions, news organizations may easily take the proxy to air within seconds for fast news turnaround.

“The pressure to deliver content and get editors cutting faster is relentless. The focus of Avid’s partnership with Sony and Marquis is to pioneer new ways to quickly ingest proxy media with metadata and fetch only the required high-resolution media in a sequence,” said Ray Thompson, senior director, partners and alliances, Avid. “The combined offering enables lens-to-first-edit workflows to flow from Sony cameras, through Sony’s C3 Portal leveraging Marquis software to deliver proxy media and camera metadata into Avid on-premises or cloud-deployed production solutions. This includes sending content into Avid Production Asset Management environments to simplify news and sports workflows or sending content directly into the Avid | Edit On Demand SaaS platform in the cloud.”

More specifically, this novel workflow automates extraction of sequence information from the Avid low-res proxy edit. With this sequence data, Marquis will automatically retrieve the high-resolution media from either Sony’s C3 Portal, and, scheduled for 2023, also from the originating camera or originating camera cards. Assuming a 10:1 shooting ratio, this partial extraction process results in a 90% reduction in 5G data transferred and network bandwidth required. Using the dynamic relink feature in Avid, the high-res content simply drops into the timeline and automatically substitutes the low-res content, thus transforming news production, the companies explained. 

“We’re so pleased to be a core part of this initiative,” concluded Paul Glasgow, managing director, Marquis. “In many ways, it has been a four-way partnership led by Sinclair, combined with some hard work and willingness to help from Marquis, Avid and Sony. As an example, we met with the Sony team at IBC 2022 and explained our integration strategy for Sinclair. Within days, we had access to Sony’s C3 Portal, plus a Sony camera in our labs to test alongside our Avid MediaCentral environment. It helped us accelerate our software development program, and most important of all, achieve real-world field operations by Sinclair.”

BURLINGTON, Mass.—Avid is reporting strong growth in its subscription software products, with paid cloud-enabled software subscriptions increased by approximately 23,100 during Q4, 2022 to approximately 506,000 as of December 31, 2022, an increase of 23.2% year-over-year.

Its Q4, 2022 earnings report also indicated that subscription average recurring revenue (ARR) was $141.3 million (as of December 31, 2022), an increase of 37.1% year-over-year. 

“We remain pleased with the overall business performance in the fourth quarter as we continue to see strong growth in our software subscription business for both creative and enterprise customers,” explained Jeff Rosica, Avid’s president and CEO. “Our customers continue to adopt our enterprise subscription offerings, which, combined with creative subscription growth, resulted in solid growth in ARR. In addition, we continued making progress in resolving supply chain challenges in our integrated solutions that we experienced throughout 2022.”

Overall, fourth quarter revenue was $116.1 million, a decrease of (2.5%) year-over-year, net income was $25.3 million, an increase of 66.0% year-over-year. Adjusted EBITDA was $24.8 million, a decrease of (0.6%) year-over-year, net income per common share was $0.57, an increase of $0.24 year-over-year, and Non-GAAP Earnings per Share was $0.45, a decrease of ($0.01) year-over year. 

Revenue was in the middle of Avid’s Q4 guidance range, Adjusted EBITDA was below our implied Q4 guidance range and Non-GAAP Earnings per Share was within our implied Q4 guidance range.

“While the one-time, non-cash adjustment to revenue we took in the fourth quarter impacted our results for the quarter, absent this adjustment, we would have been at the high-end of our implied Q4 guidance range for revenue and Non-GAAP Earnings per Share, and so, as we start 2023, we are confident in the underlying performance of the business as our product innovations continue to drive strong customer demand for our solutions,” Rosica added.

MADISON, Wisc.—Vegas Creative Software today announced a free update for its Vegas Pro 20 that adds the ONNX Runtime AI engine to make better use of GPU power from a wider selection graphics cards.

The update, available today for free to existing users and incorporated into the release for new users, enables faster processing of AI functions in the Vegas Pro workflow, the company said.

The release also offers new features, such as additional advanced color curves enabling editors to dial in with more precise control their color workflows. The release includes other new workflow features and enhancements to improve efficiency and collaboration directly on the timeline, it said.

New color workflow enhancements include: 

• Hue vs. Luminance, a curve that enables users to define a hue or the average of a range of hues in their video and then to adjust luminance of a specific color.
• Saturation vs. Luminance, a curve that lets users define saturation levels and then adjust the luminance level of that range.
• Luminance vs. Saturation, which enables users to define a range of luminance levels in the video and then adjust the saturation level of the range.

Besides the new ONNX Runtime AI engine support, the update also offers:

• A new welcome screen that helps users make decisions about the setup of their project as well as working configuration.
• A Smart Mask (beta) plug-in that analyzes a video frame and users AI to identify objects in the frame for which the solution can generate a mask.
• New Bezier mask point animation control that enables users to create masks that morph over time as the shapes of objects change;
• Enhanced workflow features, including: Hover Scrub Bypass; UX Improvements for file drop workflows; effects-related flexibility; and auto-ripple mode UX enhancement.
• Improved speech-to-text.

Vegas Pro 20 is available as three options: Vegas Edit, Vegas Pro; and Vegas Post.

More information is available on the company’s website.

 LIÈGE, Belgium—EVS has launched IPD-VIA Create, a new web application that allows users of EVS’ end-to-end live production asset management (PAM) solution—MediaCeption Signature —to access a non-linear editing (NLE) tool within the same platform for faster and more efficient operations.

With MediaCeption Signature, users can perform all the content management and media workflow functions from ingest to playout, EVS explained. 

IPD-VIA Create, is the latest application to join the IPD-VIA web-based PAM platform that is at the core of the solution.

The application was designed in collaboration with Blackbird, developer of market-leading cloud native video editing platform, and is fully integrated into EVS’ ecosystem, providing instant access to all content through an easy to navigate browser-based interface. As a result, users can work with their assets from anywhere in the world and immediately view and push edited content to craft editors or directly distribute it in broadcast quality to multiple channels, the companies said. 

“Every single component of our MediaCeption Signature solution has been built on EVS’ deep expertise and experience in live production,” explained Nicolas Bourdon, chief marketing officer at EVS. “And since the edit-while-capture concept is at the heart of everything we do, this is a huge time saver for MediaCeption Signature users who can begin working on their projects while feeds are still being recorded and ingested. IPD-VIA Create is an exciting addition to our end-to-end live PAM workflow, as it enables faster and more efficient editing in live production, which ultimately will help production teams reach the finish line faster.”

Blackbird CEO, Ian McDonough, added that “IPD-VIA Create affords end users with a full editing suite embedded in the EVS PAM. The suite has all the same speed, efficiency, and carbon reduction benefits that Blackbird customers enjoy. As part of a seamless end to end workflow, this state-of-the-art solution can rapidly deliver time and cost reduction efficiencies as well as enhancing end user performance through advanced functionality and Blackbird’s highly responsive patented codec. The profound knowledge, experience and skills of both companies' teams have combined to deliver a product we are incredibly proud of and has the potential to unlock huge value for the global media industry for years to come.”

The companies noted that IPD-VIA Create provides an easy-to-use 9x16 video framing effect, a powerful color correction feature, and the choice between Thumbnail and Timeline displays. It is also designed to be a perfect toolset for storyboard editing, enabling journalists and producers to begin drafting the first cut of their stories while the action is happening.

More information is available here. 

FREEMONT, Calif.—Blackmagic Design today unveiled DaVinci Resolve for iPad, offering users a powerful, portable platform from which to work.

Optimized for multi-touch technology and Apple Pencil, DaVinci for iPad offers support for cut and color pages, providing access to the tool’s image technology, color finishing toolset and the latest HDR workflows, it said.

With optimized performance for Apple Silicon, DaVinci Resolve delivers four times faster Ultra HD ProRes render performance on the new iPad Pro with M2. HDR is also supported for those using a 12.9-inch iPad Pro with the M1 chip, it said.

Creators can send a clean feed grading monitor output to an Apple Studio Display, Pro Display XDR or an AirPlay compatible display. This lets customers use the external display to create grades on set or color correct clips in post-production directly from their iPad.

The new DaVinci Resolve for iPad will open and create standard DaVinci Resolve project files which are compatible with the desktop version of DaVinci Resolve 18. Supported file formats include H.264, H.265, Apple ProRes and Blackmagic RAW, with clips able to be imported from the iPad Pro internal storage and Photos library, or externally connected iCloud and USB-C media disks, it said. 

Blackmagic Cloud support allows creators to collaborate with multiple users around the world. 

DaVinci Resolve for iPad features:

• Cut page for editing and the color pages are optimized for the 12.9-inch iPad Pro display.
• Up to 4x Ultra HD ProRes render performance improvement with the M2 chip.
• Supports Apple Neural Engine features in DaVinci Resolve Studio for iPad.
• Compatible with DaVinci Resolve 18 project files.
• Supports multi-user collaboration via Blackmagic Cloud.
• Supports H.264, H.265, ProRes and Blackmagic RAW media files.
• Supports clips from iPad storage, Photos library and iCloud.
• Imports clips from external USB-C disks.
• Works with Apple Pencil, Magic Trackpad, Magic Keyboard and Smart Keyboard Folio.
• External monitoring via Apple Studio Display, Pro Display XDR or an AirPlay display.
• Supports HDR display on 12.9-inch iPad Pro with the M1 chip.
• Compatible with iPadOS 16 or newer.

DaVinci Resolve for iPad will be available in Q4 from the Apple App Store as a free download. An upgrade to DaVinci Resolve Studio for iPad also will be available as an in-app purchase, the company said.

More information is available on the company’s website.

MADISON, Wisc.—Vegas Creative Software has announced a free update to its Vegas Pro 20 product line.

Updates include stability improvements and a number of new features addressing color grading workflow, efficiencies and collaboration as well as the ability to zoom into the Video Preview window for a close-in look up to 2,000x magnification, Vegas Creative Software said.

New color correction tools and features include the Hue vs. Color Saturation Curve that enables users to define a hue or a hue range and adjust the saturation value of anything from the entire video to a specific hue in a video, it said.

The new Color Picker for Color Curves feature allows users to sample a value or range of values in a video to which curve adjustments will be applied.

There is a comment field for File Drop that makes it possible to add messages, such as instructions or explanations, for collaborators invited to their File Drop session. Whatever is entered into the field appears in an email the collaborator receives when invited to the File Drop, the company said.

New AI-generated thumbnails for File Drop files intelligently and automatically select a frame of video uploaded via File Drop to represent the content of the video, which bypasses the problem of automatically using the first frame of video, which is an issue when files fade from black.

The new 2,000x magnification feature of the Video Preview window is particularly useful for homing in on details of an object while working with the Bezier Masking tools or when there’s a need to see the fine details of a color adjustment, it said.

Once zoomed in, users can scroll the zoomed view to see different areas without first zooming back out.

Other new features include:

• Speech-to-text functionality
• Enhanced collaboration features
• Color correction workflow enhancements
• Enhanced audio workflow support
• Visual effects
• Workflow efficiency features.

More information is available on the company’s website.

BURLINGTON, Mass.—Avid is congratulating customers that worked on programming that received awards or were nominated for awards at the recent 74th Annual Primetime Creative Arts Emmy Awards. 

Those programs included Outstanding Drama and Comedy series winners “Succession” and “Ted Lasso”.

Highlighting the trend of remote collaboration for his editing work using Avid Media Composer from New Zealand with producer Peter Jackson, Jabez Olssen took home the award for Outstanding Picture Editing for A Nonfiction Program for “The Beatles: Get Back”. 

“Our user creative community counted on Media Composer to help them deliver yet another year of totally captivating entertainment, from feels-good to nail-biting moments and series,” said Jeff Rosica, CEO and president, Avid. “Across Avid’s team, we’re thrilled to see our customers winning big and taking Emmy recognition for pushing the boundaries of storytelling in television and film.”

Avid noted that virtually all the nominees as well as the winners of this year’s Outstanding Drama and Comedy Series awards relied on Media Composer editing software to deliver productions like “Barry”, “Succession”, “Stranger Things”, “Better Call Saul”, “Euphoria”, “Squid Game”, “Only Murders in the Building”, “Hacks”, “Ted Lasso”, and “Ozark”, among many others. 

HBO’s returning hit show, “Barry”, took home the Emmy for Outstanding Single Camera Picture Editing for a Comedy Series, while also notching two other awards among its 14 Emmy nominations. Cutting on Avid Media Composer, Ali Greer, received her Emmy for “Starting Now”, the show’s riveting season three finale.

PORT MELBOURNE, Australia—Blackmagic Design this week released a new public beta of DaVinci Resolve 18 with Blackmagic Cloud hosting and management support of cloud-based projects, new remote, secure collaboration support using Blackmagic ID and the ability to upload and review presentations with synced markers and comments.

The beta release offers the same high-quality processing as DaVinci Resolve Studio 18 and has the ability to handle unlimited resolution media files. The beta does limit project mastering and output to Ultra HD resolutions or lower.

Supporting any single processing GPU on Windows and Linux and two CPUs on the latest Mac Pro computers, DaVinci Resolve 18 users wishing to leverage its project library management capabilities must upgrade from DaVinci Resolve 17.4.6 and earlier versions.

Key features include:

• Support for intelligent path mapping to relink files automatically.
• Improved project library performance for network workflows.
• Improved project performance, especially when working with large projects.
• New Proxy Generator app for auto-creating proxies within watch folders.
• Ability to choose between prioritizing proxies or camera originals.
• Proxy files in subfolders are automatically assigned in the media pool.

The intelligent path mapping feature automatically maps and manages paths between users and machines using cloud-based project files. When a user adds media to a project, every additional user or machine only needs to perform a relink to their shared copy of the media. The beta release automatically maps paths so media does not go offline for other users, Blackmagic Design said.

The new Proxy Generator app allows users to assign one or more folders to be scanned automatically and generate QuickTime proxies with the codec selected from the Proxy subfolder. When media is imported, proxies in these subfolders are linked automatically and assigned as proxies in the media pool, it said.

More information is available on the company’s website. 

BURLINGTON, Mass.—Avid has announced that Schweizer Radio und Fernsehen (SRF), the largest electronic media company in Switzerland to cover the German speaking markets, has signed a multiyear deal with Avid.

The deal will allow SRF to upgrade and improve its workflows using the latest versions of the MediaCentral production platform and Media Composer editing solution.

SRF, which has been an Avid customer for more than 15 years, has production operations and teams distributed across their main TV-studios located in Zurich and Basel, the companies reported. 

Along with MediaCentral | Production Management, this infrastructure includes Avid NEXIS shared storage, which enables SRF’s production team to share media across the network and collaborate in real time from anywhere, as well as Avid Media Composer | Ultimate editing software. Everything is installed at SRF’s Campus Zurich, with the other studios connecting remotely through the company’s own network infrastructure.

At the core of the new workflow is the openness of MediaCentral, providing native integration with Media Composer, as well as optional integrations with third-party tools such as Adobe Premiere Pro. The flexibility this provides means SRF will be well placed to readily adapt to its evolving workflow needs, the companies said. 

“We produce a huge amount of programming every year, meaning our distributed production teams are constantly under pressure to deliver high-quality content with fast turnaround times,” said Andreas Lattmann, manager of technology management, SRF. “Avid's MediaCentral enables us to do exactly that. Our teams have access to the tools and functionality they need to do their jobs effectively, with scalability and the best possible support should anything go wrong. After so many years of working together, we're excited to take this next step with Avid.”

“Like many broadcasters, SRF has recognized the need for greater flexibility, scalability and remote collaboration in its production workflows, all of which are delivered through the MediaCentral platform,” said Tom Cordiner, chief revenue officer, Avid. “SRF now has access to all key functionality in one unified package, with the ability to quickly allocate resources as required. We're delighted that SRF has chosen to build upon our long-standing relationship and are looking forward to seeing how it continues to evolve.”

More information on the operational advantages of subscription software at www.avid.com/products/mediacentral/mediacentral-subscriptions. 

MADISON, Wisc.—VEGAS Creative Software has added several new features to enhance color correction and visual effects workflows as well as support for the Apple ProRes codec to its VEGAS Pro product line, the company announced today.

ProRes offers the combined benefit of high image quality and small file sizes for efficient editing and playback. The new update to VEGAS Pro offers support for all ProRes formats, including:

• ProRes 4444 XQ: The highest-quality version of ProRes for 4:4:4:4 video sources. It includes an alpha channel for visual effects work;
• ProRes 422 HQ: This version of ProRes gives the same high level of image quality as ProRes 4444 but for 4:2:2 image sources. The codec will remain visually lossless even after multiple generations of decoding and re-encoding during post-production;
• ProRes 422: Offers nearly all the benefits of ProRes 422 HQ but at only 66% of the data rate. As a result, ProRes 422 offers even better real-time editing performance; 
• ProRes 4444: An extremely high-quality format for 4:4:4:4 video with an alpha channel;
• ProRes 422 LT: This version of the codec has 70% of the data rate of ProRes 422 and 30% smaller file sizes;
• ProRes 422 Proxy: Delivers full-resolution video but is even more highly compressed with a target data rate of 45 Mbps.

Among the new features and workflow enhancement are:

• The Color Grading Panel is now available at the media, track and video output levels;
• VEGAS Hub and Hub Explorer Windows are now included in the default layout for quick, simple access to media; 
• Optical Flow Slow Motion is now available for velocity curves and playback rate settings;
• Timeline clip events can now be set to adjust automatically to show all frames, particularly when playback rate changes (fast or slow motion) require the event to resize;
• New AI Tab in the Video Plugins Window helps organize all Artificial Intelligence plug-ins as a group for quicker, easier access;
• Option in Mesh Warp to more smoothly morph image between mesh points. Users have the ability to specify how moving one mesh point will affect surrounding mesh points, which can result in more organic stretching;
• Unquantized Frame Indicators help users avoid unexpected results of event edges on the timeline;
• Turn Off Video Preview during render helps render performance for those users whose machines may be underpowered or are not optimized for rendering. 

VEGAS Creative Software also has released a new speech-to-text beta function for testing and review.

More information is available on the company’s website.

SAN FRANCISCO—Digital Anarchy has launched an update to Transcriptive Rough Cutter that includes a new Transcriptive A.I. Premium option for Adobe Premiere Pro editors.

Transcriptive Rough Cutter gives Premiere Pro editors the ability to use text-based video editing and collaboration with intelligent text-to-video conforming software, the company said.

Built on Digital Anarchy's Transcriptive A.I. plugin, Rough Cutter automatically and instantly creates new video sequences from transcribed text by analyzing transcripts edited by video editors or their collaborators. Transcripts can be created in Transcriptive or imported if created through other services, such as Adobe Sensei, it said.

The Rough Cutter v.3.1 update offers a new Transcriptive A.I. Premium option that delivers transcripts, subtitling and captioning with improved accuracy, especially for video with poor audio quality, the company said.

This improvement leverages the latest machine learning models that enable the A.I. engine to transcribe difficult audio with an accuracy that previously was only possible with clean audio, it said.

The new Premium option is priced at $0.15/min for pay-as-you-go and $0.12/min for editors who purchase prepaid minutes.  

“People speak of improved accuracy measured in percentages, but they don’t always understand what those percentages mean in terms of actual performance and accuracy,” said Jim Tierney, president of Digital Anarchy.

“A performance gain of 5% may not sound significant on the surface, but when it comes to transcriptions, every 1% of additional accuracy means roughly 15% less incorrect words," he continued. "And every additional 1% in accuracy means 4 minutes less clean up time for a 30-minute clip. Those accuracy and speed improvements add up quickly and are incredibly valuable to editors who are always on a deadline, and always judged for the quality of their work. This is what Transcriptive Rough Cutter does for our customers.”

Other new features and improvements include:

• Easy imports of Adobe transcripts—Video editors now can import transcripts created by Adobe’s Speech To Text service with only two steps. When the steps are completed, Transcriptive Rough Cutter automatically starts the alignment process, syncing the transcript to the footage and automatically adding timecode to each transcribed word.
• Automatic SRT sentence splitting—Users can now split the transcript text automatically, making caption and subtitle creation more precise and faster. There is no longer a need to split sentences manually after each paragraph on the text editor before exporting.
• Create markers for each sentence for more precise notes—Editors wanting transcripts to show as markers on their timelines can use Marker Export to save each sentence as a separate market, giving them better tagging for each segment of a clip or sequence.  
• Text editor improvements—Selecting, copying and pasting functions now are more closely aligned with a regular word processor. Pasted text gets attached to the selection timecode of the word that is being overwritten.

Transcriptive Rough Cutter v3.1 is available immediately and priced at $199. It is a free upgrade for existing Transcriptive Rough Cutter v2.0 customers. 

More information is available on the company’s website.

BURLINGTON, Mass.—Avid has announced that Black Spot Media Group and Luminosity Entertainment are the latest of a growing roster of media production companies using the Avid | Edit On Demand virtual post production solution in the cloud. 

Avid also announced that numerous media creation teams have used Avid | Edit On Demand to enable seamless collaboration on film and TV projects from anywhere with Avid Media Composer editing software and Avid NEXIS cloud storage. 

Black Spot and Luminosity Entertainment will share their experiences using Edit On Demand in a webinar on December 16, Avid said.

Since the launch of Edit On Demand, Avid has worked closely with production teams in film, television and post to shape a user experience that is virtually indistinguishable from on-premises editing, the company said. 

Production teams can spin up virtualized Media Composer systems with Avid NEXIS cloud storage within a few hours, giving editors and other users access to their tools and workflows from anywhere.

Raúl Alba, Avid’s director of solutions marketing, media and cloud explained that “Avid | Edit On Demand simplifies our customers’ ability to embrace the cloud for remote collaboration. Setting up in just a matter of hours, the solution lets remote editing teams access their workflows and stay on time to deliver projects on stringent deadlines. Black Spot and Luminosity are great examples of innovative production companies that are leading the journey to the cloud, powered by Avid | Edit On Demand with secure editing and storage resources for a truly collaborative remote workforce.”

Learning from the rapid uptake of remote working, Avid has continued to deliver a range of new Edit On Demand features and enhancements for deployment, security, support, monitoring, logging and storage, among others, the company said. 

“With the Avid | Edit On Demand subscription service, we were able to provide our editing teams with virtualized Media Composer systems and Avid NEXIS cloud storage across several time zones,” said John Laskas, creative director/founder at Black Spot Media Group. “Thanks to Edit on Demand, we’re able to collaborate around-the-clock with teams at a scale that we could never have entertained previously, delivering far more content than before and within our clients’ increasingly tight timelines.”

“Avid | Edit On Demand enabled our production team to immediately access and start cutting a project in the cloud. This shortened our delivery time and allowed us to take on more projects,” added Chris Rash, post production supervisor at Luminosity Entertainment. “The Avid | Edit On Demand subscription provided us with a complete post production solution without the significant cost of purchasing the hardware.”

Registration for Avid’s webinar The Benefits of Cloud Editing—A Roundtable Discussion on December 16 at 1 p.m. ET is available here.

Black Spot and Luminosity Entertainment will join Ray Thompson, senior director, partner and industry marketing at Avid, to explore their experiences with Edit On Demand. 

MOLINE, Ill. & London—Blackbird plc has announced that TownNews and its Blackbird cloud native video editing platform are now being used by 80 U.S. TV stations for digital news production. The deployments of Blackbird span 35 states. 

Video production teams at the 80 U.S. TV stations use Blackbird collaboratively to remotely access, edit and quickly publish news content to social, web and other digital platforms. When paired with TownNews’ Field59 VMS, the latest news stories can be quickly delivered to viewers using Blackbird’s browser-based cloud native video editing platform.

Blackbird customers include Univision, IMG, Tata Communications, Sky News Arabia, EVS, A+E Networks, Eurovision Sport, BT, NHL, Cheddar News, Riot Games, the U.S Department of State and 80 US TV stations with TownNews, Blackbird said. 

MOLINE, Ill., & LONDON—Blackbird has announced that 75 U.S. TV stations are using its cloud-native Blackbird video editing platform for digital news production, following its latest deployment in partnership with TownNews.

“The team at Blackbird has been a tremendous partner with us in providing the digital video workflow tools we know our broadcast television customer value and expect,” said Derek Gebler, vice president of broadcast and video at TownNews.

Stations deploying Blackbird use the platform to access, edit and publish news content quickly to social and web platforms. When paired with the TownNews Field59 VMS, the latest news stories can be delivered to viewers quickly using Blackbird’s browser-based, easy-to-use and carbon-efficient cloud native video editing platform, Blackbird said.

TV stations in 35 states have deployed Blackbird, and millions of viewers in the U.S. now consume content through the Blackbird and TownNews Field59 VMS platform.

“Blackbird and TownNews have really built an incredible partnership, which continues to expand at pace,” said Blackbird CEO Ian McDonough. “We started in 2018 with two stations and now have 75. It’s an excellent combined solution and demonstrates perfectly how two companies can work together for the customer’s benefit.”

More information is available on the Blackbird website.

FREMONT, Calif.—Blackmagic Design has announced that many of the 2021 summer season’s worldwide film releases used Blackmagic Design products during production and post, with creatives involved in those films deploying its digital film cameras and its DaVinci Resolve Studio software for editing, color correction, visual effects production and more. 

The list of films using the products included some of the biggest blockbusters and expected blockbusters of the summer, such as “The Green Knight,” “Jungle Cruise,” “Spiral” and “Cruella.”

For the summer films, DaVinci Resolve was used many of the world’s leading editors, colorists and post production facilities, including Company 3’s Jaimie O’Bradovich on “Werewolves Within”, Wild Union Post’s Alex Noble on “Holler” and HARBOR’s Joe Gawler on “After Yang.”

“‘After Yang’ benefited greatly from the flexibility of DaVinci Resolve Studio’s node structure,” said Gawler. “Using nodes downstream of our main balancing work, the filmmakers and I were able to quickly experiment with a variety of more stylized palates, while simultaneously tightening the continuity within each scene.”

During production, Blackmagic Design cameras were used on a variety of films and scenes, while the company’s various routers, capture and playback devices, monitors, DaVinci Resolve and Mini Converters were used on DIT carts to help manage onset production, from suspense thrillers such as “Old” to horror movies like “Candyman”, Blackmagic Design reported. 

The summer films that used Blackmagic Design products for production included:

“Candyman” DIT James Notari used UltraStudio 4K recorders, Smart VideoHub 12x12 and SmartView Duo for his onset work;

“CODA” DIT Leonard A. Mazzone used Smart Videohub 16x16 and UltraStudio 4K for his onset work;

“Down with the King” DP Daniel Vecchione and director Diego Ongaro used two Pocket Cinema Camera 6Ks and two Video Assist 12G HDRs for principal photography;

“Don’t Breathe 2” cinematographer Pedro Luque used Pocket Cinema Camera for unique angles during production, and DIT Veljko Vukasovic used DaVinci Resolve Studio, UltraStudio 4K Extreme, Mini Monitor and Mini Recorder for his onset work;

“Free Guy” DIT Daniel A Hernandez used DaVinci Resolve Studio and UltraStudio capture and playback devices for onset work;

“False Positive” visual effects supervisor John Bair of Phosphene used Pocket Cinema Camera 6K and DaVinci Resolve Studio to capture VFX elements and plates, and VFX supervisor Alex Noble of Wild Union Post used DaVinci Resolve Studio as part of his VFX workflow;

“F9” DIT Joe Steel used UltraStudio Mini capture and playback devices, Smart Videohub and DaVinci Resolve Studio for onset work.

“Jungle Cruise” DIT Jason Bauer used Smart Videohub 20x20, Decklink Duo, various Micro Converters and DaVinci Resolve Studio on set;

“Old” editor Brett M. Reed used UltraStudio 4K Mini;

“Stillwater” DIT Daniel A Hernandez used DaVinci Resolve Studio and UltraStudio for onset work;

“The Killing of Two Lovers” cinematographer Oscar Ignacio Jimenez used DaVinci Resolve Studio for onset dailies review;

“The Water Man” DIT Sean Rawls used Smart Videohub 20x20, Multiview 4 HD, Decklink 4K Pro, Decklink HD Extreme 3D, Blackmagic Video Assist 7" 3G, UltraStudio HD Mini, UltraStudio Recorder 3G and DaVinci Resolve Studio onset;

“Werewolves Within” DIT Brandon Kelley used DaVinci Resolve Studio, UltaStudio Mini Monitor, UltraStudio Mini Recorder and Teranex;

“Wrath of Man” DIT Daniele Colombera used a variety of Blackmagic Design capture and playback devices, Mini Converter, Mini Monitor, SmartScope Duo, Smart Videohub and DaVinci Resolve for on set work.

Films that used DaVinci Resolve Studio for grading and editorial included: 

“All the Streets Are Silent” graded by Samuel Gursky of Irving Harvey;

“After Yang” graded by Joe Gawler at HARBOR;

“Black Widow” graded by Jill Bogdanowicz at Company 3;

“Cruella” graded by Tom Poole at Company 3;

“Down with the King” graded by Alex Berman at Goldcrest Post;

“Dream Horse” graded by Rob Pizzey at Goldcrest Post Production;

“The Green Knight” graded by Alastor Arnold at FotoKem;

“In the Earth” graded by Rob Pizzey at Goldcrest Post Production;

“Spiral” graded by Joanne Rourke at Company 3,

“Stillwater” graded by Tom Poole at Company 3;

“The Killing of Two Lovers” was graded by Drew Tekulve, and the film was edited with DaVinci Resolve Studio by Robert Machoian at 433 Pictures;

“The Protégé” graded by Vanessa Taylor at Nu Boyana Studios, London;

“The Hitman’s Wife’s Bodyguard” graded by Vanessa Taylor at Nu Boyana Studios, London;

“Werewolves Within” graded by Jamie OBradovich at Company 3.

Films using DaVinci Resolve Studio or Fusion Studio for visual effects work included: 

“Catch the Fair One” visual effects supervisor Lucien Harriot of Mechanism Digital used Fusion Studio for VFX work;

“Holler” visual effects supervisor Alex Noble of Wild Union Post used DaVinci Resolve Studio as part of his VFX workflow;

“Joe Bell” visual effects supervisor George Loucas of Baked Studios used DaVinci Resolve Studio as part of his VFX workflow;

“The Loneliest Whale: The Search for 52” visual effects supervisor Alex Noble of Wild Union Post used DaVinci Resolve as part of his VFX workflow;

“Spiral” executive producer Martín López Funes of Malditomaus used DaVinci Resolve Studio and Fusion Studio for the film’s visual effects under the leadership of VFX supervisor Jon Campfens of Switch VFX;

“Werewolves Within” visual effects supervisor Lucien Harriot of Mechanism Digital used Fusion Studio for VFX work;

“Zola” visual effects supervisor Alex Noble of Wild Union Post used DaVinci Resolve Studio as part of his VFX workflow.

MADISON, Wisc.—Vegas Creative Software has announced a complete refresh of its Vegas Pro product line, including the launch of Vegas Pro 19, and what the company calls “accessible new pricing.”

The refresh offers improved video and audio editing, color grading, effects, live streaming and new cloud-integrated content management and acquisition, it said.

Vegas Pro 19 is now available as three different packages, Vegas Edit, Vegas Pro and Vegas Post. Vegas Edit is intended for aspiring editors, novices, consumers and enthusiasts. It offers Vegas Pro 19, 20GB of cloud storage; 20 royalty-free Vegas Content HD video and/or audio clip downloads per month and pricing at $12.99 per month or $249 for a perpetual license, the company said.

Vegas Pro is designed for aspiring and professional content creators, social media influences and live event producers. It offers Vegas Pro 19; 50GB of cloud storage; Vegas Stream for live streaming; Sound Forge Audio Studio; unlimited access to royalty-free clips; and +Primatte chromakeying software. It is priced at $19.99 per month and $399 for a perpetual license. 

Vegas Post was developed for content creators in need of a complete video and audio editing and high-end compositing solution as well as RAW image compositing workflow. It offers Vegas Pro 19; 100GB of cloud storage; Vegas Effects for compositing; Vegas Image for RAW image compositing; Vegas Stream for live streaming; royalty-free HD and 4K video clips and audio clips; Sound Forge Audio Studio; and +Primatte chromakeying software. It is priced at $29.99 per month and $599 for a perpetual license. 

The cloud space and royalty-free content are only available to those choosing a subscription plan, the company said. 

Updates available in Vegas Pro 19 include: cloud-based media management and collaboration; powerful, yet simple color tools; intelligent multilingual text-to-speech generator; AI-driven workflows; codec support for Blackmagic RAW (BRAW), which is in beta at launch; and a new more efficient user interface.

More information is available on the company’s website. 

MOUNTAIN VIEW, Calif.—TVU Networks today announced it has partnered with video management and distribution software provider Vimond Media Solutions, bringing the Vimond IO cloud-native non-linear video editing tool to the TVU ecosystem where it can access live video.

With real-time access to live video, Vimond IO editors can begin editing before ENG crews return from the field to offload their footage to a server. The integration gives editors the same immediacy they enjoy with other TVU applications, the company said.

For example, using the TVU MediaMind platform, live video sources can be enriched with a variety of metadata automatically, such as the names of people identified by facial recognition AI algorithms or the types of objects in a frame.

If Vimond IO editors are producing a package on forest fires, they can create an alert that finds live footage of a forest fire from authorized sources. Using TVU MediaMind’s AI-driven metadata, Vimond IO editors can find other archived forest fire footage or expand their searches to include other parameters, TVU Networks said.

Vimond IO is a browser-based video editing and publishing tool that runs in the cloud. News and sports organizations can ingest video from live streams and file-based footage directly to Vimond IO, then publish to multiple social media and content management systems using a fast rendering engine, thereby reducing time to air, it said.

This content also can be sent to TVU Producer to be included in a mutli-camera live production, the company said.

DUSSELDORF, Germany—Elements has announced a remote access editing software designed for media artists, Elements Satellite.

Elements Satellite merges technology from remote gaming company Parsec with low-latency demanding media workflows. The platform is meant to eliminate unstable playback and low framerate. It also enables editing of 4K 60 fps video from anywhere with high video quality and in-sync audio.

The system also works with the Elements Client app. This app can manage and initiate encrypted connections on both Windows and macOS operating systems. All access permissions are available centrally, including two-factor authentication and full end-to-end encryption with the Elements-based connection broker.

For more information, visit elements.tv/satellite.  

MONTREAL—Grass Valley is rolling out the next-generation of its multiformat, non-linear editing software, the Edius X.

The new updates to the Edius software builds on its functionality to bring tighter integration for the user, increased flexibility and more creative power, GV says.

GV is giving a full preview of the Edius X during a livestream event on Thursday, June 18, at 11 a.m. ET. The preview will focus on Edius X’s new core with intelligent background rendering for an uninterrupted workflow experience.

Edius X is slated to begin shipping in September.

For more information, visit www.grassvalley.com.  

BOSTON & MUNICH, Germany—Adobe is partnering with both Cinegy and Editshare on new technologies that support remote production and editing workflows, according to separate press releases from each company.

Cinegy’s collaboration with Adobe has resulted in the launch of Turbocut, an Adobe CC plug-in designed to accelerate the editing of H.264/HEVC by utilizing NVividia GPU’s hardware decoder. Turbocut also brings Cinegy’s Daniel2 video codec to Adobe CC, designed for making 8K resolutions or higher easier to edit, per Cinegy.

EditShare, meanwhile, has an integrated system with Adobe that connects editing workflows into a wider media ecosystem with deep metadata tracking and workflow automation either on-premise, in a hybrid configuration or as a cloud-based workflow.

There is also the new Flow panel from EditShare for Adobe Premiere Pro that is designed to transform content management, proxy and remote editing, and review and approval workflows for editors. Flow also offers an advanced proxy-based workflow with support for more than 500 codecs, which ties into Cinegy’s partnership with Adobe.

There is also the EFS open storage platform that is meant to enhance collaborative editing with full support for project-locking for Productions in Premiere Pro, allowing Premiere Pro to handle a large number of assets.

For more information, visit Cinegy and EditShare’s websites. 

LONDON—Remote access to all video files to all the relevant (and authorized) personnel is a good thing. But do those benefits extend to editing in the cloud? 

Although it has been around for some time, it is only in the relatively recent past that acceptance has been spreading.

WHAT DOES THE TERM ‘EDITING IN THE CLOUD’ MEAN? 

“Providing you pick an advanced solution, video editing in the cloud takes care of everything for you.” That’s the view of Ray Thompson, director of broadcast and media solutions marketing at Avid. 

“A common misconception is that cloud-based video editing is just about editing tools sitting inside a cloud service provider’s infrastructure. But it usually encompasses a storage component and a bandwidth component to get content into and out of the cloud.”

Stephen Tallamy, chief technology officer at Editshare, adds: “Editing in the cloud provides the ability to be in any location and work on any machine and mimic on-premise workflows with fine grain control over your media such as real-time scrubbing capabilities, along with editing and grading video content in real time.” 

Nicholas Stokes, CEO, Envoi, a provider of cloud solutions, provides further insight. “It enables content creators to establish their video production and editing environment within a cloud framework. This makes it possible to manage full editorial and post production workflows all in the cloud, so that video creators no longer need massive on-premise hardware infrastructures.”  

Thompson agrees. He says that when a post production facility previously wanted to add capacity it meant buying more hardware. But with the cloud, users can spin resources up and down as and when needed. 

“From an economic perspective, it enables facilities to easily expand their resources since they’re no longer confined by physical space,” he said. “Thanks to cloud-based editing, you can hire talented editors regardless of where they live.”  

That’s a view shared by Tallamy. “The benefits are immense, particularly the ability to save on costs throughout a production. You can limit the on-site production teams, and then hire and work with the best talent anywhere and of course, the speed and ability to turn things around at a much faster pace.”

WHAT IS A TYPICAL WORKFLOW?

Stokes provides a scenario: “A video creator is shooting on location in Los Angeles and needs to deliver 1TB of media data to his team of five editors. However, editorial teams for the U.S. are in New York and the international team is based in the U.K.

“You have 24 hours to deliver the final interview,” he continued. “If you hired FedEx or UPS it would take 24 hours to ship hard drives to each location, then eight plus hours to edit the content. With the cloud you can upload or ingest media data into the cloud in hours and the global editing teams can start content creation immediately.” 

Tallamy provides further insight. “Ingest content, create proxies and deliver the high-resolution media via chunking to a data centre. Meanwhile, editors are working away on either the source media—via cloud workstations, or proxies—for local workstations, cutting the stories and narratives. Then, a quick resync enables them to relink to the high-end material simply and efficiently. Using a media management system connected to a file delivery system, the content can now be backhauled to a video server somewhere for playout.”

WHAT ARE THE CHALLENGES?

Stokes believes the biggest hurdle until now has been the ability to move high-quality capture content to the cloud. 

“The present deployment of 5G will quickly remove this obstacle and enable the cloud to be at the center of the content creation process right from the point of capture,” Stokes said. “With so many different tools, workflows, and formats, the biggest challenge for video providers right now is defining the right setup for their unique deployment.” 

Bandwidth is always the challenge as media file sizes continue to grow, according to Tallamy.

“Moving large data files is always a challenge considering network pipes are not built the same in every location,” he said. “So, if you choose a remote location for a production, expect to tailor your workflow or codec choice. We have seen this across multiple reality TV shows we have worked with where the location is superb but the network isn’t.” 

PLUS: Has Remote Production Changed Production ... Forever?

For Thompson the challenges relate to the environment itself.

“If you have a good solution, it will auto provision everything for you,” he said. “You just need a technical resource that understands what the requirements are to run the application and storage. You also need to know how much estimated bandwidth you’re going to need, taking into consideration how many people will be working on the project. Depending on the resolution and bit rate of the content you’re going to edit, you may also need a dedicated line between your facility and the cloud point of presence or data center. Therefore, having a secure connection is critical.”

WHAT ABOUT SECURITY?

Tallamy believes security is a huge topic and is among the top three concerns by most creative production teams. 

“There are guidelines and rules set out by industry groups such as the TPN, MPAA and the EBU in order to best meet the security guidelines,” Tallamy said. “We implement our EditShare EFS auditing platform across all craft editing platforms, enabling you to secure your content and offer peace of mind for creatives that their content is always kept safe, whether it’s on premise, in the cloud or anywhere in between.” 

Speaking for Envoi, Stokes maintains that cloud workflows are often more secure than on-premise as there is no physical presence to be accessed.

“Cloud providers, such as AWS, ensure maximum security and we also integrate with Teradici to ensure secure access to a virtual workstation environment using Teradici Cloud Access,” Stokes said.

Thompson says an early partnership with Microsoft produced a significant milestone for cloud workflows for everyone in the industry.

“In general, media companies are becoming more comfortable with not only letting their content sit in the cloud, but also moving and editing content via the cloud,” he said. “When we talk to our customers about some of the major corporations who have entrusted their media in the cloud with us, it tends to put them at ease.”

WHAT ABOUT SOFTWARE?

Tallamy believes that a great craft editor works with proxy-based content, a media-engineered file system that works in the cloud and enables teams to share projects and content.

“Bin locking and, of course, a media management system, such as EditShare’s Flow media asset management platform, enables the proxy creation, indexing, meta-tagging and delivery of finished files,” he said. “Choosing the right cloud provider that is agile is paramount in making a successful deployment. We are also seeing remote desktop technologies such as Teradici being utilized.” 

Stokes adds that cloud storage is needed so that content can reside in the cloud no matter what stage it is in. Secondly, cloud-based media management, such as iconik, enables the user to easily discover, manage, and collaborate on creative work, and a PCoIP management console, such as from Teradici, supports access to high-quality content from low-cost remote computers. 

Finally, he suggests a platform that ties that all together to enable cloud-based content management, distribution, and monetization. “That is where Envoi comes in.” 

Avid customers will need Media Composer and Avid NEXIS file system running in Azure, according to Thompson.

“Running NEXIS in the cloud allows you to have a tiered storage system for online, nearline, and backup/archive using the NEXIS management console,” he said. “Because of the work we’ve done with Microsoft, we can facilitate editing in the cloud—even for high-res mezzanine-level content—and do so in a variety of different scenarios that others can’t do today. You will also need file-based transfer software to get content in and out of the cloud, as well as PC over IP software to virtualize the application running in the cloud so it remains accessible from a web browser.” 

WHAT ABOUT A HYBRID MODEL, USING CLOUD AND ON-PREM?

Stokes believes it is certainly feasible to do so. 

“But if you are still using on-premise you are still suffering the drawbacks that presents, such as rapidly obsolete hardware and the need for large infrastructure,” he said. “It also increases the complexity and makes it harder to enable global collaboration on all video content.” 

Tallamy says Editshare has many clients today working in a hybrid model environment. 

“Particularly in sports and production, the benefits are immense, both with time and savings across the board from logistics to accommodation, flights and technical equipment shipping, the cost savings can offer a real boost to the bottom line,” he said.

Thompson adds: “The great thing about a hybrid solution is that regardless of what you’re doing and where you are, you don’t need to know where that content lives. A good hybrid model will allow you to focus on creativity and worry less about the technology behind it. Having a hybrid model means that you can always access content that’s sitting on-prem, even if you’re not connected to the internet. The fact that content lives in both places and is backed up to the nth degree—not just in the cloud—gives you unparalleled security.” 

This article originally appeared in TVB Europe. 

BOSTON—EditShare has unveiled its new virtualized video editing and storage platform meant to enable cloud-based media production, the EFSv.

EditShare’s EFSv runs on Amazon Web Services infrastructure and supports industry-standard third-party creative tools for editing, audio mixing and grading. It features security capabilities like file auditing for secure, end-to-end editorial workflows in the cloud. There are also EFSv native drivers that eliminate traditional IT bottlenecks for strong performance in virtual environments. With the EditShare RESTful API, users can automate advanced storage management workflows.

The EFSv package includes the workstation and GPU resources to support teams of varying sizes, per EditShare. The EFSv package also includes EditShare’s Flow media management and remote production workflow tools, adding a control layer to virtualized storage pools and tools to scan, log, search, organize media, assemble storage packages and move content between object and block tiers of storage and cloud and on-premise storage.

The EFSv is available immediately. EditShare plans to host two webinars on April 22 at 9 a.m. ET and 7 p.m. ET to demonstrate EFSv. Registration for session 1 and session 2 are now open.

In addition, EditShare says that its 24/7 customer service team is available to assist with moving client workflows to the cloud. For more information, visit www.editshare.com/contact.  

LONDON—Reuters and cloud-based video production specialist Grabyo have partnered to give broadcasters, news organizations and publishers that use the news agency’s Reuters Connect the ability to edit and publish live video in real-time, Grabyo said.

“With more and more of our customers around the world forced to work from home [due to COVID-19], Reuters is constantly seeking ways to help them adapt and face a new set of challenges,” said Nick Cohen, global head of product, Core News Services, Reuters. “Partnering with remote platforms such as Grabyo helps us to ensure our customers’ live news teams can continue their critical work without interruption.”

The deal makes it easier for distributed news teams, including those working from home, to publish and edit live video to various destinations. 

Under the agreement, Reuters Connect customers can access the Grabyo platform at a discount, giving them a cloud-based means to maintain coverage of live news remotely even when working from home during the COVID-19 epidemic, Grabyo said.

Reuters Connect users can access live broadcasts and review previous broadcasts of any event broadcast on the Reuters Connect platform via Grabyo. Users can localize content with their own graphics and branding for owned-and-operated platforms, making it easy to personalize news for digital channel delivery. 

Grabyo’s browser-based live editing tools also make it possible for users to create additional video packages from a live Reuters Connect broadcast, the company said.

The tools enable editing multiple assets, audio files and graphics, as well as automatically adding real-time captions via Grabyo’s speech recognition capabilities.

More information is available on the Grabyo and Reuters Connect websites.

Portland, OR – November 25, 2019 –Red Giant today announced the availability of Red Giant Complete for individuals, students and teachers. Expanding its software licensing options, Red Giant Complete is a subscription service that gives editors, motion designers and VFX artists all Red Giant tools at one low price – Trapcode Suite, Magic Bullet Suite, Universe, VFX Suite and Shooter Suite. With Red Giant Complete, annual subscribers will have the most up-to-date versions of all tools, saving thousands of dollars over traditional perpetual licenses.

Watch now:Red Giant Complete

“Red Giant Complete has been available to our volume customers for years, with thousands of licenses in use at broadcast networks, film studios and universities. And now, due to popular demand, we're really excited to offer subscription licensing to all of our customers,” says Chad Bechert, CEO of Red Giant. “At the same time, nothing has changed. While we think Red Giant Complete is an incredible deal, we know some customers are more comfortable buying software the traditional way. We want to make sure our community of talented artists has what it needs, so we’re continuing to offer perpetual licenses at their usual prices.”

Red Giant Complete is $599 a year for individuals or $299 for students and teachers. Check out the Red Giant blog to learn more about how to switch over to Red Giant Complete and why now is the best time to make the switch, with a special, limited-time-only introductory offer for established Suite customers (see more details below).

The Benefits of Red Giant Complete

· All Access – Red Giant Complete gives artists full access to the complete set of Red Giant tools – including all four product suites and Universe.

· Up-to-Date – Red Giant Complete includes free upgrades, so users will always have the latest editing, motion graphics and VFX tools, the moment they are updated.

· Big Savings – With Red Giant Complete, individuals, students and teachers will save thousands of dollars. Buying all Red Giant tools would normally cost $3,495. With subscription pricing it would take over 5 years to pay the same amount for perpetual licenses – and that wouldn’t include upgrade costs.

Red Giant Complete includes:

· Trapcode Suite (reg. $999): The industry’s most essential tools for creating 3D motion graphics and visual effects in Adobe® After Effects®, now with the Dynamic Fluids™ physics engine.

· Magic Bullet Suite (reg. $899): Widely used for color correction, finishing and film looks, Magic Bullet Suite 13 gives editors and filmmakers everything needed to make footage look great, right on editing timelines.

· Universe (reg. $199/year): Red Giant’s collection of over 80 GPU-accelerated plugins for editors and motion graphics artists.

· VFX Suite (reg. $999): The all-new suite of keying, tracking, cleanup and visual effects compositing tools, all right inside Adobe After Effects.

· Shooter Suite (reg. $399): Shooter Suite 13.0 is a set of purpose-built applications, including the industry-leading PluralEyes, that give directors of photography, videographers, shooters and filmmakers the ability to bring footage from set to post.

Total if purchased separately: $3,495

Red Giant Complete: $599/YEAR

Upgrade Now for 50% Off Red Giant Complete

For those with current Red Giant licenses for any product suite, or an active subscription to Universe, Red Giant is offering a special upgrade to Red Giant Complete for just $299 - that’s 50% off the first year of Red Giant Complete*.

· Use Coupon Code: RGC50

· Upgrade Offer Ends: 2/25/20

Students and teachers who own any Red Giant Suite or have an active subscription to Universe, Red Giant is offering a special upgrade to Red Giant Complete for just $149.

· Use Coupon Code: RGC50A

· Upgrade Offer Ends: 2/25/20

* The offer of 50% off Red Giant Complete for individuals, students and teachers is valid for only the first year of an annual subscription.

Red Giant Complete for Volume Customers

If you are a business buying five or more licenses, check out Red Giant’s Volume Program (https://www.redgiant.com/volume/), which includes additional business-focused features such as floating licenses, remote deployment, advanced support, training and more.

Compatibility

Red Giant Complete is made up of several different suites, each with its own set of tools and relative compatibility info. Every tool runs on Mac and Windows and is compatible with Adobe After Effects, while some of the tools also work in additional host-applications. Visit the Red Giant compatibility page to learn more about each product.

The Red Pledge

Red Pledge is Red Giant’s commitment to customer happiness, with no purchasing hassles. Learn about the Red Pledge guarantee at www.redgiant.com/company/red-pledge/.

Request a Red Giant Complete Media Review Kit

Members of the media are invited to review Red Giant Complete as well as any individual tools or product suites from Red Giant. For more information or to request a product review kit, please contact Megan Linebarger at megan@zazilmediagroup.com.

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 250,000 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 www.redgiant.com.

Press Contact

Megan Linebarger

Zazil Media Group

(e) megan@zazilmediagroup.com

(p) +1 (617) 480-3674