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December 2012
Hollywood Film Co. Unveils BriteShot

Hollywood Film Co. has introduced the BriteShot Luminator system of LED fixtures designed for stage, movie and television productions.

Lowel Spotlights Handheld GL-1

Lowel Light, a division of The Tiffen Co., has introduced the GL-1 Power LED light.

Nila Illuminates Varsa

Nila has introduced the portable, durable Varsa LED fixture, which provides a high output from a small form factor.

Gates Houses C300, C500

Gates Underwater Products has introduced the C300/C500 Housing, designed for use with Canon’s EOS C300 and C500 digital cameras.

3Deep Takes Red Beneath the Surface

Following the launch of his DeepX underwater camera housing, inventor/filmmaker Pawel Achtel has introduced the 3Deep underwater 3-D housing system.

Converging Concepts Rigs 3-D

Converging Concepts 3D has introduced the Gen 2 3-D rig, which provides robust, precise support for any camera and lens combination.

GoPro Unveils HD Hero3

GoPro has introduced the HD Hero3 camera line.

Solid Grip Systems Revolutionizes Track Folding

Solid Grip Systems and Prosup of The Netherlands have developed Centerfold Track, available in 1 meter (3.28'), 1.5 meter (4.92') and 2.3 meter (7.55') lengths.

Egripment Goes Universal

Egripment has introduced the Universal Dolly and Generic Track System.

Glidetrack Moves with Mobislyder

Glidetrack has introduced the Mobislyder, a portable dolly system designed for smart phones and compact cameras.

Glidecam Stabilizes Handheld Operating

Glidecam Industries has introduced the Glidecam XR-Series of camera stabilizers, designed to bring versatility and affordability to handheld-camera stabilization.

OptiTrack Launches Prime Series

OptiTrack has introduced the Prime 41 4.1 megapixel motion-capture camera, the first in the company’s new Prime Series of cameras tailored to large-volume motion capture.

Glue Tools Communicates with Phantom

Glue Tools, LLC, has updated its Mac-based Séance control package, which provides control for Vision Research’s line of Phantom high-speed digital cameras.

DFT, 1o1Media Streamline Dailies

Digital Film Technology, a provider of high-end film and digital post solutions, and cloud-based video-platform provider 1o1Media have integrated their solutions to create Flexxity + 1o1, a software application (for both Mac and Linux platforms) that optimizes a fully end-to-end finished dailies solution with secure, online content management and distribution.

Fujifilm Updates OptCal App

Fujifilm Optical Devices has released version 4.1 of its OptCal Select-a-Lens calculator, which was developed in 2005 to take the guesswork out of lens selection. Version 4.1 can be used on iPhones, iPads and Android devices, and adds support for a number of languages, including German, French, Italian, Japanese, Chinese, Spanish and Portuguese.

Red Giant Rolls Out Knoll Light Factory 3

Red Giant has released Knoll Light Factory 3. Co-developed with Academy Award-winning visual-effects supervisor John Knoll, Light Factory 3 delivers an intuitive interface, realistic flare elements, beautifully designed presets and time-saving animated behaviors.

SpectraCal Calibrates with CalMan Studio

Software developer SpectraCal, Inc., has released CalMan Studio display-calibration software.

Avid Introduces DS 11

Avid has released DS 11, the latest version of its full-featured editing, graphics-creation, color-correction and compositing solution.

Sony Upgrades Vegas Pro

Sony Creative Software has announced an upgrade to its Vegas editing technology.


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Hollywood Film Co. Unveils BriteShot

Hollywood Film Co. has introduced the BriteShot Luminator system of LED fixtures designed for stage, movie and television productions. The BriteShot Luminator family comprises two models, both of which consist of 168 individual LEDs mounted on a newly designed heat sink. One model features white LEDs, and the other features red, blue, green, amber and white for variable color temperature and different color effects.

The BriteShot Luminator features an interchangeable plastic lens, enabling the unit to project either a crisp flood or precise spot beam. The spot has a 15-degree beam spread and the flood yields a 30-degree beam spread. The fixture incorporates a newly designed pattern sequence to take full advantage of the 168 light sources and produce an even field.

Power input is automatically switched from 100 to 240 volts (50/60 Hz), and the fixture draws 440 watts at full brightness. The BriteShot Luminator is equipped with a self-contained electronic control system, and the fixture can also be DMX controlled from a laptop, iPhone or other device. Custom cases for transit and storage are also available.

contact info:

 
www.hollywoodfilmco.com
Lowel Spotlights Handheld GL-1

Lowel Light, a division of The Tiffen Co., has introduced the GL-1 Power LED light.

Designed in conjunction with wedding/event photographers Brian Marcus and John Solano, the GL-1 Power LED offers a complement to DLSR cameras, allowing users to harness the creative potential of high-ISO shoots. The unit is a battery-powered, focusable, dimmable, tungsten-balanced (3,000°K with a CRI of 90) LED light. Users can control the diameter of the beam, focusing from a tight spot to a wide flood. The beam is even from edge to edge, with no hot spots. Additionally, the GL-1’s dimming ability lets users vary the amount of light output from 5-100 percent without any shift in color temperature, allowing them to match the atmosphere of the available location lighting.

The power of the GL-1, combined with its portability, allows users to move freely, selectively using the warm nature of the tungsten color as key, fill or accent. A ¼-20 screw thread on the GL-1’s base also provides an option for tripod or stand mounting for longer lighting setups. Silent diaphragm cooling eliminates distraction while shooting quiet moments.

“The GL-1 is exciting because it presents a new way of lighting for the shooter on the go,” says ASC associate Steve Tiffen, president and CEO of The Tiffen Co. “Totally self-contained, with powerful spot-to-flood output, it lets you put the light right where you want it from a distance or up close.”

The Lowel GL-1 Power LED sells for $800.

contact info:

 
www.lowel.com
www.tiffen.com
Nila Illuminates Varsa

Nila has introduced the portable, durable Varsa LED fixture, which provides a high output from a small form factor. Available in daylight and tungsten configurations, the Varsa is also Nila’s first fixture to accept both AC and DC input; users can plug into any DC source between 10-18 volts, or any AC source between 90-250 volts. They can also power the unit with Gold or V-mount camera batteries on Nila’s yoke-mountable battery plates.

The Varsa is designed for use on location and in a studio. The unit draws 75 watts while providing a punch equivalent to a 400-watt HMI, but without the heat, maintenance or warm-up times associated with HMIs. Nila’s holographic, quick-change lenses allow the user to easily select a precise beam angle with no hot spots across the entire beam. Additionally, the Varsa Deluxe Kit includes a drop-in set of rotating barn doors to provide more flexibility while shaping the light; lenses and gels can be easily changed with the barn doors in place. The fixture also includes built-in mounts for a standard or extra-small Chimera soft box.

The DMX-controllable Varsa also features firmware that facilitates flicker-free operation at any dim level from 0-1,500 fps and total freedom to shoot at any speed when the light output is set at 100 percent.

contact info:

 
www.nila.tv
Gates Houses C300, C500

Gates Underwater Products has introduced the C300/C500 Housing, designed for use with Canon’s EOS C300 and C500 digital cameras.

The C300/C500 Housing supports a variety of Canon EF- and PL-mount lenses and features comprehensive camera and lens control, giving operators full access to camera menus; focus, zoom and iris controls; white balance; shot playback; ND filter; and assignable buttons. The Housing also features fully adjustable buoyancy and trim, Gates Precision Ports for uncompromised image quality without vignetting, and an optional HD-SDI surface feed for topside filmmakers. A Convergent Design Gemini Raw recorder can be fitted into the Housing for true 4K raw recording, and an optional EM43 external monitor provides a big view for framing and focus. Additionally, the Housing features an included Seal Check to assure housing integrity before entering the water.

“The C300/C500 Housing is surprisingly small, yet can be balanced just the way professionals like for smooth, stable shots,” says John Ellerbrock, president of Gates Underwater Products. “Access to every camera control [enables] on-the-fly adjustments to achieve perfect image quality.”

The Housing is depth rated for 450'. Its basic shell measures 12.2" long, 8.7" high and 8.6" wide. Additionally, Gates offers two port options: the Standard Port SP80, a field-replaceable optical dome available in acrylic and A/R coated glass versions, and the Flat Port FP80, a field-replaceable flat element suitable for macro work.

The Housing features precision-machined aluminum shells with a black Type III “hard” anodized finish sealed with a nickel-acetate process, as well as stainless-steel hardware, reliable fingertip mechanical controls and a two-year renewable warranty.

contact info:

 
www.gateshousings.com
3Deep Takes Red Beneath the Surface

Following the launch of his DeepX underwater camera housing, inventor/filmmaker Pawel Achtel has introduced the 3Deep underwater 3-D housing system. Like the DeepX, the 3Deep does away with ports and instead uses Nikonos lenses that have been designed for underwater use with no extra plastic or glass in front of them. The lenses mount directly to the front of the underwater housing. The 3Deep is designed for use with Red Digital Cinema’s camera systems.

The 3Deep housing is available in the U.S. and Europe through Band Pro.

contact info:

 
www.bandpro.com
Converging Concepts Rigs 3-D

Converging Concepts 3D has introduced the Gen 2 3-D rig, which provides robust, precise support for any camera and lens combination.

The Gen 2’s open architecture accommodates large cameras and enables versatile accessory mounting. Internal motors and electronics for pitch, roll, height, interaxial and convergence adjustments, and an illuminated target make alignment quick and easy from the remote hand unit. The rig can also memorize 20 different setups that can be recalled

The Gen 2’s hand unit has damped concentric knobs for accurate interaxial and convergence settings, either linked or separate, and operates wired or wireless. The Gen 2 has automatic CG compensation for Steadicam, allowing interaxial pulls with perfect balance. The rigid mirror box provides distortion-free support of the precision beam splitter and mounting points for filters, lights, and adjustable top and side flags. It can operate in under- or over-through configurations and has a dozen ¼-20 holes and two Arri rosettes for accessory mounting. Additionally, the Gen 2 has 4" of interaxial travel and 6.5 degrees of convergence, and weighs just 15 pounds.

At press time, the Gen 2 3-D rig was available for rent from Radiant Images in Los Angeles and Daufenbach Camera in Chicago.

contact info:

 
www.cc3drigs.com
GoPro Unveils HD Hero3

GoPro has introduced the HD Hero3 camera line. Available in White, Silver and Black editions, the camera retains the look of the previous HD Hero cameras, but is only about half their size. It also features built-in Wi-Fi technology.

At the top end of the lineup, the Black Edition delivers 4K and 2.7K video resolutions. The White, Silver and Black editions sell for $199.99, $299.99 and $399.99, respectively.

GoPro has also released a free app that allows users to remotely view and control the HD Hero2 camera from an Apple iOS or Android smart phone or tablet. The app can be downloaded from Apple’s App Store and Google Play.

contact info:

 
www.gopro.com
Solid Grip Systems Revolutionizes Track Folding

Solid Grip Systems and Prosup of The Netherlands have developed Centerfold Track, available in 1 meter (3.28'), 1.5 meter (4.92') and 2.3 meter (7.55') lengths. Unlike cross-tied lengths of scissor track, Centerfold Track maintains its length when folded, minimizing space requirements in the grip truck.

contact info:

 
www.solidgripsystems.eu
Egripment Goes Universal

Egripment has introduced the Universal Dolly and Generic Track System.
   

he Universal Dolly combines the best features of Egripment’s previous dollies (StarTrack, Matador, Focus and Dinky) but is lighter, stronger and more versatile. It folds into a small package for easy transport; it weighs 37 pounds (without wheels); and it accommodates a payload of up to 440 pounds.

The Universal Dolly also features a new steering method, allowing two- or four-wheel steering from the back, front or side. It can also be equipped with sideboards (either flat or containing 100mm or 150mm camera bowls) and can be operated with pneumatic wheels, hard-rubber wheels or track wheels. When equipped with track wheels, the dolly runs on standard-width (24.5") straight and curved track. It can also be equipped with most Egripment accessories, such as seat supports, columns, bazookas and jib arms.

The Universal Dolly features a platform length of 36", an overall length of 45.5" and an overall width of 30" (without side boards). It is manufactured from lightweight aircraft-grade aluminum.

Egripment’s Generic Track System consists of a small G-Track dolly with smooth track wheels based on narrow, high-speed steel track in any length required. The system is fully computer controlled, allowing users to precisely repeat dolly moves. The Generic Track System is suitable for live applications and fully automated applications within virtual-reality studios.

contact info:

 
www.egripment.com
Glidetrack Moves with Mobislyder

Glidetrack has introduced the Mobislyder, a portable dolly system designed for smart phones and compact cameras.

“For years, sophisticated-looking camera moves were only available to professionals with big budgets and truckloads of gear,” says Alastair Brown, the company’s founder. “But now, with most camera devices being capable of shooting HD video, Mobislyder allows operators to take smooth tracking shots fit for the big screen, all with the sweep of a finger.

“The days of shaky video being posted online are gone,” Brown continues. “People are becoming more demanding about what they watch, which means companies or individuals need to improve the quality of their videos, and Mobislyder can help them do that.”

The Mobislyder is available for $175.

contact info:

 
www.mobislyder.com
Glidecam Stabilizes Handheld Operating

Glidecam Industries has introduced the Glidecam XR-Series of camera stabilizers, designed to bring versatility and affordability to handheld-camera stabilization. The series comprises the XR-1000, the XR-2000 and the XR-4000.

With the Glidecam XR-Series, the operator’s camcorder is always balanced and isolated from the hand’s undesired motions, enabling panning, tilting, booming and running without instability or shake. Each XR-Series stabilizer’s offset, foam-cushioned handle grip is attached to a proprietary, free-floating three-axis gimbal, which incorporates several adjustable axis-convergence controls that allow all three axes to intersect for proper operational alignment. Additionally, the camera-mounting platform can be adjusted back-and-forth and side-to-side to enable quick adjustment of the camera’s horizontal balance. The operator can also adjust the vertical balance by varying the amount of counterweight disks on the base platform, or by changing the length of the no-tools telescoping central post.

The XR-1000 can extend from 12" tall to 16" tall and is designed for cameras weighing 0.5-4 pounds. The XR-2000 can extend from 15" tall to 22" tall and can support cameras of 2-6 pounds. The XR-4000 extends from 20" tall to 28" tall and can support cameras of 4-10 pounds. All three models are made with precision aluminum (anodized studio black) and feature precision bearings at all vital points and rubber feet under the base platform. All XR-Series stabilizers are made in the United States.

contact info:

 
www.glidecam.com
OptiTrack Launches Prime Series

OptiTrack has introduced the Prime 41 4.1 megapixel motion-capture camera, the first in the company’s new Prime Series of cameras tailored to large-volume motion capture. Offering capture volumes that extend up to 75'x150' with precise pixel-for-pixel tracking, the Prime 41 provides visual-effects studios, game developers and more with the tracking technology necessary for ambitious motion-tracking and motion–capture applications.

Features of the Prime 41 include an 80'-plus camera-to-marker range; infrared strobes that are usable with other film, video or still cameras; a 180 fps capture rate; a global shutter; GigE and PoE+; simultaneous body and finger tracking; outdoor functionality; an aim-assist button for simple, rapid, single-user setup; and Genlock, SMPTE time code and external sync.

The Prime 41 is available for $4,999.

contact info:

 
www.optitrack.com
Glue Tools Communicates with Phantom

Glue Tools, LLC, has updated its Mac-based Séance control package, which provides control for Vision Research’s line of Phantom high-speed digital cameras. The updated Séance v1.1 improves upon the previous release to provide a better Phantom Camera workflow for Mac users.

“This new version has been built to improve the DIT’s ability to work with Phantom cameras and the Cinestation,” says Bob Monaghan, CEO of Glue Tools. “We have added a number of features to make the Phantom a first-class citizen in the production facility.”

Improvements to Séance include the addition of Cine Preview for live visualization of footage without the need for an HD-SDI monitor, full control over Color and Image processing settings in the camera’s hardware and full compatibility with Vision Research PCC 2.1 Cine file format. Additionally, v1.1 features an improved user interface when saving to multiple destinations and an improved Demo mode for testing purposes.

Séance for Mac is priced at $1,599 with an annual support license of $599; the Séance/Phantom Cine Toolkit bundle is $2,099.

contact info:

 
www.gluetools.com
DFT, 1o1Media Streamline Dailies

Digital Film Technology, a provider of high-end film and digital post solutions, and cloud-based video-platform provider 1o1Media have integrated their solutions to create Flexxity + 1o1, a software application (for both Mac and Linux platforms) that optimizes a fully end-to-end finished dailies solution with secure, online content management and distribution.

Flexxity + 1o1 was designed to save filmmakers time and money. Users can create and securely share color-corrected dailies immediately, on set and through post, worldwide and around the clock. The solution simplifies all aspects of a digital file-based production, including sound syncing, color grading, data backups, transcoding and distribution. It provides native support for ProRes, QuickTime, MXF and DPX files, as well as most digital-cinematography camera formats. The solution also supports parallel workflows for higher throughput and efficiency, and it supports stereoscopic 3-D workflows.

contact info:

 
www.dft-film.com
www.1o1media.com
Fujifilm Updates OptCal App

Fujifilm Optical Devices has released version 4.1 of its OptCal Select-a-Lens calculator, which was developed in 2005 to take the guesswork out of lens selection. Version 4.1 can be used on iPhones, iPads and Android devices, and adds support for a number of languages, including German, French, Italian, Japanese, Chinese, Spanish and Portuguese.

OptCal helps users calculate various lens formulas — such as field of view, angle of view and depth-of-field — and it can compare those values when switching between lens formats and camera image sizes. OptCal allows users to calculate formulas for 2⁄3", 1⁄2", 1⁄3", and PL-mount and C-mount lenses.

OptCal v4.1 is available for free through the Apple App Store and Google Play.

contact info:

 
www.fujifilmusa.com
Red Giant Rolls Out Knoll Light Factory 3

Red Giant has released Knoll Light Factory 3. Co-developed with Academy Award-winning visual-effects supervisor John Knoll, Light Factory 3 delivers an intuitive interface, realistic flare elements, beautifully designed presets and time-saving animated behaviors.

“This is the biggest advance to Light Factory in many years,” says Knoll. “Version 3 delivers a great new editor to make flare creation faster, and new and updated elements for the flare engine for better accuracy at high resolution. The library includes a collection of realistic cinematic and distant flares that I’ve built to help with your next production.”
    Central to Knoll Light Factory 3 is its redesigned and intuitive interface. Designing flares is now simple, thanks to newly organized controls and a Lens Designer preview that has been rebuilt. The software offers 28 Elements and 56 Sprites that let users quickly create a light design. Additionally, Light Factory 3 ships with more than 100 Lens Flare Presets (including new ones designed by Knoll) that emulate real-world lenses and lights, and are equally useful for visual effects and motion graphics.

Automated Behaviors instantly add unique animation by simulating real-world light effects such as Strobe, Pulse, Flicker and Blink. The Edge Reaction feature flares or fades light at the edge of a frame for more realistic effects and cinematic impact. Full integration with Adobe After Effects
3-D camera and comp lights enables users to move the Knoll flares in 3-D space and sync them with animated lights.

Knoll Light Factory 3 is part of Effects Suite 11, Red Giant’s suite of more than 70 tools for visual effects and broadcast design. All products in Effects Suite 11 ship with full support for OS X Mountain Lion and Adobe After Effects CS6. Knoll Light Factory 3 supports Adobe After Effects CS4-CS6, Adobe Premiere Pro CS5-CS6 and Apple Final Cut Pro 7.

Knoll Light Factory 3 is available for $199 for new customers. Existing Knoll Light Factory users can upgrade for $99.

contact info:

 
www.redgiant.com
SpectraCal Calibrates with CalMan Studio

Software developer SpectraCal, Inc., has released CalMan Studio display-calibration software. The device-independent software is designed for broadcast, production and post professionals who view color-critical moving images on reference studio and professional monitors.

CalMan Studio characterizes a display in exacting detail and creates a characterization cube, also known as a 3-D look-up table, that corrects a video signal to compensate for the monitor’s deviations from a reference standard. This allows video professionals to be sure they are seeing exactly the same image on all monitors.

CalMan Studio is based on technology originally developed in SpectraCal’s CalMan display-calibration solution. A great deal of research and development was invested in making sure that CalMan Studio would satisfy the requirements of professionals in the broadcast, production and post industries.

“Previous generations of software used a brute-force method with very little intelligence,” says Derek Smith, SpectraCal’s founder and CTO. “CalMan Studio uses adaptive intelligence to infer interpolated interior points in the cube. This saves a phenomenal amount of time, adding significant efficiencies during the review cycle. CalMan Studio goes back and checks each reference point iteratively, as many times as necessary, until we achieve complete accuracy.”

Once the characterization cube is finished, CalMan Studio can store the result in any of a number of industry-standard image processors, including the Cine-tal Davio and the HDLink Pro from Blackmagic Design. SpectraCal has also announced its own image processor, the SpectraCal ColorBox.

CalMan Studio supports more than 30 colorimeters and nearly as many video test-pattern generators. A free evaluation version can be downloaded from the SpectraCal website: www.spectracal.com.

contact info:

 
www.spectracal.com
Avid Introduces DS 11

Avid has released DS 11, the latest version of its full-featured editing, graphics-creation, color-correction and compositing solution. With new features such as hands-on color correction with Avid Artist Color integration, expanded file format and hardware support, 16 channels of embedded audio, and total conform to Media Composer 6 and Symphony 6, DS 11 enables customers to maximize creativity and enhance productivity through more integrated, flexible workflows.

Artist Color and Artist Transport integration offers hands-on precision and the ability to speed up color correcting, grading, editing and navigation with support for Artist Color and Artist Transport control surfaces, which are now supported across all Avid professional video-editing products. DS 11’s resolution-independent canvas allows editors to customize the size for source generators and visual effects, saving time and improving quality for high-resolution graphics creation. Workflows are further accelerated by the ability to blend operations directly on the timeline to single or multiple clips or containers.

DS 11 enables editors to connect to and play Long-GOP MXF essence (such as from XDCam) when conforming from Media Composer or Symphony, eliminating transcoding time. Users can also edit high-resolution media in real time and in master quality using the high quality, compressed Avid DNxHD 444 codec. HDR file support enables the use of HDR imagery in projects with support for Open EXR and TIFF DCDM format, and DS 11 also boasts enhanced flexibility with support for Red Epic and Scarlet camera footage. Additionally, 16 channels of embedded SDI audio enable bigger, richer audio mixes.

DS 11 further accelerates workflows with the ability to send high-resolution 2-D sequences to Avid DS directly from Media Composer 6 or Symphony 6. It also integrates with the latest version of Avid Interplay and Avid Isis shared-storage systems to simultaneously access and share media. Avid DS 11 also supports AJA Kona 3G hardware and any third-party hardware supported by Media Composer and Symphony.

contact info:

 
www.avid.com
Sony Upgrades Vegas Pro

Sony Creative Software has announced an upgrade to its Vegas editing technology. Vegas Pro 12 adds dozens of substantial feature enhancements, performance improvements and workflow innovations, significantly expanding the creative toolkit for editors and content creators at every level of the postproduction market. The NLE platform combines a familiar track-based editing interface with a fluid, interactive approach to media production.

Workflow improvements in Vegas Pro 12 include Project Interchange with popular editing platforms such as Adobe Premiere Pro CS6, Avid Pro Tools 10 and Apple Final Cut Pro 7; an Expanded Edit mode for fine-tuning the timing of a project using an interactive A-B roll paradigm; Color Match, for quickly matching the color characteristics of different video clips; and Smart Proxy editing, which automatically and dynamically replaces clips on the timeline with high-quality, edit-friendly HD proxies.

On the format front, Vegas Pro 12 can ingest Panasonic P2 DVCPro and AVC-Intra content, and encode to the versatile HDCam SR mastering format at bit rates up to 880 Mb/s. Additionally, Vegas Pro 12 features Masking Tools, including Effects Masking for quickly obscuring a face or logo. Updates to the Vegas Pro Explorer and Project Media windows improve the ability to find and organize content thanks to a redesigned Thumbnail View, as well as optimized Media Tagging capabilities and automated Smart

For Sony PMW-F3, F23, F35 and F65 users looking to maintain the full dynamic range of their images in post, Vegas Pro 12 uses OpenColorIO technology from Sony Pictures Imageworks and the Academy Color Encoding Specification (ACES) color-space standard to build a comprehensive S-Log workflow solution. Vegas Pro 12 editors can apply the appropriate LUT to the S-Log source material from a list of built-in templates. The finished project can be encoded to a wide range of formats using ACES as well as other popular non-ACES standards.

“Many cinematographers are acquiring in S-Log to maximize the dynamic range and tonal reproduction of their images, but up until now their postproduction options have been limited,” says David Chaimson, vice president of global marketing for Sony Creative Software. “Vegas Pro 12 opens the door for content creators to enjoy the benefits and flexibility of an integrated, end-to-end S-Log production pipeline with minimal effort and no additional plug-ins to purchase.”

To meet the needs of the broadest range of customers, Vegas Pro 12 will be available in two configurations. The Vegas Pro 12 Collection follows previous versions by including the Vegas Pro 12 editing application along with DVD Architect Pro 5.2 and Dolby Digital Professional Encoder for DVD and Blu-ray authoring. Vegas Pro 12 Edit is a lower-cost package that features all of the editing capabilities of Vegas Pro 12 without the DVD Architect and Dolby Encoder software.

The Vegas Pro 12 Collection is available for $699. Vegas Pro Edit is available for $499. Upgrades from previous versions of Vegas Pro to Vegas Pro 12 are available for $199.

contact info:

 
www.sonycreativesoftware.com