Asia-Pacific Broadcasting (APB) August 2017 Volume 34, Issue 6 - Page 14

14 Sachtler releases Axe XL fluid head Camera support systems provider Sachtler has unveiled the Ace XL 75mm fluid head. An upgrade of the Ace L, the Ace XL offers an increase of 2kg of maximum payload capacity over its predecessor. This, said Sachtler, makes the Ace XL ideal for use with the latest cine-style cameras, including Blackmagic Design’s URSA Mini Pro. In comparison to the Ace L, the Ace XL has a maximum payload of 8kg, which allows the new fluid head to support a broader range of configurations. The Ace XL is available in three different configurations supporting different tripod systems. Bexel adds Litepanels lights to support sports broadcasting Bexel has upgraded its lighting inventory with the addition of 300 Litepanels Astra 6X LED panels. According to Bexel, the new lights will be key components in the company’s ongoing support of customers who require turnkey lighting solutions in any location at outdoor sporting venues. The Litepanels Astra 6X LED panel is 50% brighter than the first-generation Astra light and six times brighter than Litepanels’ original 1x1 panel. Even with its greater intensity, the Astra 6X draws less power than its predecessor, which allows for longer battery runtime. In addition to delivering higher-quality colour rendering, the panels can be powered by professional camera batteries, making them ideal for productions looking to save power and reduce costs, said Litepanels. Next Month @ Creation Graphic Systems & Virtual Sets PANELLISTS Dr Ahmad Zaki Mohd Salleh Group GM, Engineering Media Prima Phan Tien Dung CTO Vietnam Digital Television Bernard Anthony CEO Cambodian Broadcasting Services April 2012 August 2017 Advanced editing post-production Even the most skilled editors will readily acknowledge the importance of having the best tools at their disposal. Where post production is concerned, there is no lack of options for editors to choose from, as Shawn Liew discovers. be penalties for late delivery and with master that everyone signed off on and the deadline just hours away, there just we’d copied the final master to the cli- isn’t time to re-export the show.” ent’s drive, which took several hours,” With Pixelfantastic now operating he recalls. “The client wanted to change in file-based workflows, Williams goes one of the names of the cameramen and on to comment on the fundamental correct a colour shift — literally two tiny difference between tape and file deliv- changes in this mammoth file.” erables. “When there was an issue with With cineXtools, Williams and his a programme, the broadcaster would team were able to make the changes by send the same tape back, and I would directly accessing the client’s master on simply insert the change,” he details. their external drive, and then followed “When we send the same tape back with suit on their own master. “If we’d had an inserted fix, the broadcaster would to re-export, then copy over a new recognise the tape and file, it would have taken only re-QC the segment an entire day, but it took flagged on the changelog.” literally minutes to make Wit h f i l e s , e ve r y these corrections. cineX- ased in London, Pixelfantastic is a change equates to a new tools is an essential tool boutique facility specialising in colour, export — a brand-new for modern mastering. I conform and file delivery for concerts, file that Pixelfantastic was am so glad that someone documentaries and episodic TV, and required to QC again and decided insert-editing has delivered hundreds of show using re-certify that it passed was important enough a variety of mastering formats includ- a long list of technical to resurrect,” Williams ing tape, AS-11/DPP and 4K/Ultra HD checks. “We never had concludes. (UHD) files. that problem with SR For London-based Despite this wealth of experience, tape. If I only changed the TVT, a managed me- Barrie Williams, owner of Pixelfantastic, credits on tape, we would TVT’s Peter Elvidge: Cloud dia services provider, the acknowledges the constant challenges only need to re-QC that as a resource for video recent launch of a full involved in delivering files. He notes, for segment, not the entire editing and workflow, is Access Services busi- instance, the frequent and regular back programme,” Williams less understood but offers ness unit is designed to “significant benefits”. and forth exercise between offline and says. strengthen its position as conform/online because information is Enter cineXtools, which has not only a leading provider of compliance and often not available to validate whether eliminated these issues, but has also video editing solutions that address a title, start time or credit is correct to created for Pixelfantastic a “better and the complexities of the dynamic inter- begin with. simpler” workflow as compared to tape, national market for linear, on-demand Williams explains: “Typically, edi- according to him. “With cineXtools, and online entertainment, says the tors will send me the ‘finished’ edit for whether it’s a picture fix, audio insert, company, which is also seeing a trend grading, we would finish the grade and metadata change or timecode re-stripe, where editing for compliance is heading send it back for viewing. This is often the it’s a fast, almost instantaneous process,” to the cloud. point when the decision makers watch he adds. “Moreover, and possibly more Peter Elvidge, VP technology at the programme with full concentration, importantly, the file that I am making TVT, tells APB: “The TV industry has and 10 minutes after that, a request would the changes to is still the same file.” been going through a major technical come through to change the credits and Being able to make changes to the transition over the past decade with opening titles. We also need to take out file that has already been delivered is much of it focuse