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Big Pic Media partners with Capella Systems for transcoding and live encoding

in New Release, News / by Adam Welsh
March 6, 2018

Capella Systems – are a relatively new company having been founded in 2009 by the CEO Ikuyo Yamada, previously of Harmonic. The company based  in San Jose, CA focuses on the latest video compression and video recognition technologies.  The team specialise in transcoding and live encoding and have taken the experience they have to produce a set of products that are truly customer focussed and have a track record of responding to client suggestions and needs with the flexibility of a focussed team that is not weighed down by large corporate processes.

The products include:-

CAMBRIA FTC – Cambria FTC is enterprise-level transcoding software. It imports and exports widely used professional digital video formats, including H.264, MPEG-2, DNxHD, and HEVC.

CAMBRIA CLUSTER –  Cambria Cluster is a scalable, transcoding network of multiple Cambria FTC stations for processing a large volume of video files.

 CAMBRIA LIVE – Cambria Live offers the highest-quality H.264 compression in real time for live streaming applications.
CAMBRIA LIVE BROADCAST MANAGER – Cambria Live Broadcast Manager manages multiple Cambria Live workstations for a fully automated live streaming workflow while handling commercial insertion, scheduled live streaming events, and more.

Big Pic Media announce Black Magic Design’s Launch of Ultimatte 12

in New Release, News / by Adam Welsh
March 1, 2018

BLACKMAGIC DESIGN ANNOUNCES ULTIMATTE 12

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

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

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

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

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

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

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

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

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

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

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

Portrait Displays to provide Auto Calibration for 2018 LG OLED and Super UHD TV’s

in New Release, News / by Adam Welsh
January 16, 2018
US software developer Portrait Displays®, Inc., has partnered with LG Electronics, to provide auto calibration capability for LG’s 2018 OLED and SUPER UHD televisions being unveiled this week at CES in Las Vegas.
At CES Portrait and LG are demonstrating the auto calibration using a pre-release version of Portrait’s flagship software CalMAN® by SpectraCal®.
Because all 2018 LG OLED and SUPER UHD TVs allow direct CalMAN access to internal look-up tables (1D and 3D LUTs), the color accuracy can be so precise that the TVs can now match the video accuracy of professional reference monitors.
“The LG TVs with CalMAN AutoCal blur the distinction between the professional reference monitor and the consumer television,” said Martin Fishman, Co-CEO of Portrait Displays.
“Of significance, you can sit at home and see exactly what the director of the movie was intending,” Fishman said.
“The addition of the world’s leading auto calibration software from Portrait Displays to our 2018 LG OLED and SUPER UHD TV models will greatly streamline the process for professional calibrators and ensure that consumers will be able to enjoy the full potential of their LG OLED or SUPER UHD television,” said Neil Robinson, LG’s Director of Technology Partnerships.
Portrait Displays is the world leading vendor of video calibration software. Portrait’s CalMAN software is the video calibration solution chosen by nearly every professional video calibrator, and by most end users in broadcast, production, and post-production, as well as the most popular solution for home video enthusiasts.
Auto calibration transforms a task that could require an hour or greater by a trained professional into one that can be performed in minutes, increasing the efficiency and effectiveness of the calibration.
“You simply connect CalMAN on your computer to the LG television using Wi-Fi or Ethernet, and then let CalMAN’s AutoCal make your picture perfect,” Fishman said.
LG is the first manufacturer to allow CalMAN direct access to the underlying hardware look-up tables in the television. This allows for increased calibration flexibility and is not limited to the adjustment ranges of manual on screen calibration controls. They are also the first televisions to offer three-dimensional look-up tables (3D LUTs) as one of the CalMAN accessible tables. 3D LUTs allow correction of minute color variances. 3D LUT correction has long been the “gold standard” for video accuracy among video industry professionals.
“When you need a display to be extremely accurate, the usual solution is to add a 3D LUT box to the video chain,” said Portrait’s Technical Liaison Tyler Pruitt. “The 3D LUT box corrects minor nonlinearities that the display’s controls alone won’t correct,” Pruitt explained. Image processors with 3D LUTs cost from hundreds to thousands of dollars, and are employed by home theater videophiles as well as studio industry professionals.
“With the 2018 LG premium televisions, the 3D LUTs are inside the television and available to CalMAN. This eliminates the need for an external LUT box,” Pruitt said.
The CalMAN AutoCal by SpectraCal capability on the 2018 LG TVs extends across the LG premium television product line, and is available not only for standard dynamic range (SDR) but also for all three varieties of high dynamic range (HDR): HDR10, HLG, and Dolby Vision.
The auto calibration solution under development for LG by Portrait is scheduled to ship at the same time the 2018 line of LG televisions is released.
More information about CalMAN’s AutoCal for LG can be found at calman.spectracal.com. To learn more about LG’s 2018 LG OLED and LG SUPER UHD TVs, visit lg.com.

Recent Posts

  • Big Pic Media partners with Capella Systems for transcoding and live encoding
  • Big Pic Media announce Black Magic Design’s Launch of Ultimatte 12
  • Marquise Technologies to exhibit at EBU’s Production Technology Seminar
  • Portrait Displays to provide Auto Calibration for 2018 LG OLED and Super UHD TV’s

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