The Tiffen Company Brings Its Diffusion Effects Filters to Photographers
Fri, 07 Mar 2014 11:43:56 -0500
Originally developed for Hollywood cinematographers, the Tiffen Pearlescent, Satin and Black Satin filters soften excess detail and reduce wrinkles and blemishes, giving DSLR photographers and videographers more creative control over the shot.
Tiffen ImageMaker and award-winning photographer Clay Blackmore, one of the first to use these Tiffen filters, comments on their versatility, “I show quite a bit of my work immediately. This means no time for touch-ups in post. With the Tiffen MPTV filters, I can add a hint of softness that takes the shot to a whole new level. The results are impressive and the workflow is incredibly fast.”
Tiffen’s Pearlescent filters create a subtle new look with a slight softening of contrast and a luxurious Pearlescent halo around highlights. These new filters aid photographers in taking the edge off the image, reducing blemishes on talent while adding a softness in the images highlights.
Tiffen’s Satin and Black Satin filters soften excessive sharpness and add a mild contrast reduction to smooth out unwanted blemishes and wrinkles. The filters give a smooth look to textured surfaces.
Attendees to the WPPI can see Clay Blackmore demonstrate these and other Tiffen award-winning filters in booth 327.
“The Tiffen Company pioneered Optical Filter development for photographers more than 75 years ago and to this day continues to innovate with new product offerings such as the Pearlescent, Satin and Black Satin filters,” says Steve Tiffen, President and CEO, The Tiffen Company. “After decades of enjoying how Hollywood has used these Tiffen MPTV filters to achieve their visions, we look forward to seeing an entire new group of image-makers capture and enhance their subjects using the Tiffen Pearlescent, Satin and Black Satin filters for photography and videography.”
The Tiffen Pearlescent, Tiffen Satin and Tiffen Black Satin filters are now available in 40.5, 43, 46, 49, 52, 55, 58, 62, 72, 77 and 82mm ring sizes.
FCC Proposes $1.9 Million in Penalties Against Viacom, ESPN and NBCUniversal
Thu, 06 Mar 2014 10:10:48 -0500
The Federal Communications Commission today proposed fines against Viacom, ESPN, and NBCUniversal for repeatedly transmitting an advertisement that misuses the warning sounds of the nationwide Emergency Alert System (EAS).
The EAS is a national public warning system that requires broadcasters, cable television operators, wireless cable operators, wireline video service providers, satellite digital audio radio service providers, and direct broadcast satellite providers to make it possible for the President of the United States to address the American public during a national emergency. Federal, state, and local authorities may also use the EAS to deliver important emergency information, such as Amber Alerts and weather information, like tornado warnings, targeted to specific areas.
The FCC has long prohibited the transmission of actual or simulated EAS Attention Signals or tones in circumstances other than a real alert or an authorized test of the EAS system. This case is the latest in a series of FCC enforcement actions to address a recent spike in consumer complaints.
The FCC’s Enforcement Bureau initiated a wide-ranging investigation in response to consumer complaints about a commercial being transmitted on multiple cable networks. The complaints described an advertisement promoting the release of the film “Olympus has Fallen.” In response to the Bureau’s Letters of Inquiry, the Companies each admitted that the commercial appeared multiple times on multiple
national and regional networks under their control, and that it used actual EAS codes and the Attention Signal to advertise the film.
As a result of the investigation, the FCC has issued an omnibus Notice of Apparent Liability for a total of $1,930,000 to the Companies. Seven Viacom-owned networks transmitted the advertisement a total of 108 times over five days, resulting in a proposed forfeiture of $1,120,000. Three ESPN-owned networks transmitted the advertisement a total of 13 times over four days, resulting in a proposed forfeiture of $280,000. Finally, seven NBCUniversal-owned cable networks transmitted the advertisement a total of 38 times over a span of six days, resulting in a proposed forfeiture of $530,000.
The Walt Disney Company Strikes Major Distribution Deal with DISH Network
Tue, 04 Mar 2014 10:19:43 -0500
The Walt Disney Company and DISH Network Corporation announced a groundbreaking, long-term, wide-ranging distribution agreement that will provide DISH customers with access to Disney’s robust lineup of sports, news and entertainment content across televisions, computers, smartphones, tablets, gaming consoles and connected devices.
DISH will make available ESPN Goal Line, ESPN Buzzer Beater, as well as Longhorn Network and the upcoming SEC ESPN Network upon its launch. In addition, DISH, ESPN and ESPN Deportes customers will have access to the live and video-on-demand channel ESPN3.
As part of the agreement, DISH will launch ESPNEWS, ESPNU, Disney Channel, and ABC Family in high definition. ESPN Classic will be reintroduced as a video-on-demand channel.
The renewal agreement supports the companies’ mutual goal to deliver the best video content to customers across multiple platforms by strengthening the value of the multichannel video subscription today and by creating the opportunity for DISH to deliver new services in the future.
The extensive and expanded distribution agreement grants DISH rights to stream cleared linear and video-on-demand content from the ABC-owned broadcast stations, ABC Family, Disney Channel, ESPN and ESPN2, as part of an Internet delivered, IP-based multichannel offering.
Additionally, for the first time, DISH customers will be able to access Disney’s authenticated live and video-on-demand products, including WatchESPN, WATCH Disney, WATCH ABC Family and WATCH ABC using Internet devices in the home and on the go.
The agreement will result in dismissal of all pending litigation between the two companies, including disputes over PrimeTime Anytime and AutoHop. As part of the accord, DISH will disable AutoHop functionality for ABC content within the C3 ratings window. The deal also provides a structure for other advertising models as the market evolves, including dynamic ad insertion, advertising on mobile devices and extended advertising measurement periods.
“The creation of this agreement has really been about predicting the future of television with a visionary and forward-leaning partner,” said Joseph P. Clayton, DISH chief executive officer and president. “Not only will the exceptional Disney, ABC, ESPN entertainment portfolio continue to delight our customers today, but we have a model from which to deliver exciting new services tomorrow.”
The companies also renewed carriage agreement for ABC’s eight owned local stations, including WABC-TV in New York City, KABC-TV in Los Angeles, WLS-TV in Chicago, WPVI-TV in Philadelphia, KGO-TV in San Francisco, WTVD-TV in Raleigh-Durham, KTRK-TV in Houston, and KFSN in Fresno.
At NAB 2014, Panasonic To Introduce High-Speed, 4K VariCams
Mon, 03 Mar 2014 09:09:52 -0500
Panasonic’s NAB 2014 booth will feature products designed with sports production in mind, including a new P2 camcorder, a VariCam high-speed camera that can record at 1080p/240 fps, the company’s first 4K VariCam, and the new AV-HS6000 production switcher with two mix effects.
The two new VariCam units, one offering 4K and the other offering 1080p high-speed recording, feature a new form factor that separates the camera head from the recording deck. That allows the camera head to be placed on jibs or cranes and deliver signals to a recorder located elsewhere.
The new VariCam HS (high speed), which will ship in the fall, delivers up to 240 frames per second and can record at either 12-bit 4:4:4 for mastering and archiving or 10-bit 4:2:2 for documentaries and sports at 1920x1080p resolution via three ⅔-in. MOS sensors.
“That allows those who want to use long zoom lenses to have a quality camera,” says Panasonic Senior Product Manager Steve Cooperman.
The 4K camera, known as the VariCam 35, can simultaneously record 2K images as well as lo-res AVC proxies to make it easier to review 4K content.
“It also can record at up to 120 frames per second,” he adds. “Our customers have been asking for higher frame rates without sacrificing video quality.”
Other features include a new OLED viewfinder with optical-zoom functionality and a removable control panel to make real-time control easier. It also has four 3-Gbps HD-SDI outputs for 4K quad support as well as two 3-Gbps HD-SDI outputs for RAW output for external drives. There is also HD-SDI output for monitoring needs.
Both VariCam units will ship in the fall with pricing to be announced.
HBO Boxing Has Noise on the Ropes With Networked Fiber Audio Transport
Fri, 28 Feb 2014 15:23:49 -0500
Fiber continues its penetration into audio transport for sports broadcasting. After NFL and, most recently, the Summer Olympics shows relied heavily on fiber cabling, boxing is the next to go that way.
According to Randy Flick, long-time A1 for HBO’s boxing shows, the NEP SS17 truck, which has been the first-call remote-production vehicle for HBO’s boxing events, has just wrapped up a year-long conversion from copper to fiber for audio.
At the heart of the upgrade are six Lance Design ADX-2400 audio-distribution units — three at ringside and one each in the locker room, house AV, and RF operations center. They serve as the digital hubs for deployment of eight Lance Design ADX-120 and four ADX-140 field announce units.
The ADX-120 announce boxes have two mic inputs, two stereo IFBs, one two-channel RTS partyline, and two talkback outputs and enable up to eight announcers at ringside. The ADX-140 is a 1RU version of the ADX-120 but has four mic inputs and no talkback outputs and is used to ship the ringside effects mics used back to the truck.
Each of the ADX-2400 units can handle up to four of these field boxes, which take in microphones set up throughout the venue. These include effects mics such as the Sennheiser HME26 electret condensers used for the announcer microphones, the Sennheiser 816 shotguns mounted on fish poles at the red and blue corners of the ring, and the 416 shotguns that pick up ambient effects sounds over the ring and from neutral corners.
Flick says the conversion process began in January 2013 after he and HBO Boxing Production Manager Jason Cohen agreed that transitioning to fiber cabling would significantly streamline workflow and signal transport. In fact, it reduced the truck’s copper-cabling infrastructure from 15 runs of DT-12 copper to four runs, and Flick says that will likely go down to three later this year. “And those DT-12s are used only for backup,” he adds, “so the reality is that the shows are now all-digital for audio.”
The Lance Design boxes use CobraNet as a network between the stage boxes and the truck, with all cabling run on fiber or Cat 5e cabling over Ethernet. The network uses a combination of HP Ethernet switches at the truck and in the venue. After reaching the stage boxes, all the audio is brought back to the truck as digital and stays that way as it goes into the truck’s Calrec Sigma console. A separate, analog feed is sent to the truck’s RTS ADAM intercom system.
“We’re going analog to digital in less than 10 ft. of cable, versus 1,000 ft. of copper in the field coming back to the truck using DT-12,” Flick calculates. “And it’s then when you realize how quiet it is with an all-digital path. Analog was vulnerable to adding crosstalk and more chances for noise in the form of hums and buzzes.”
Viewers will get to hear everything but the noise on the next show, when Julio Cesar Chavez Jr. fights Brian Vera at the Alamo Dome in San Antonio on March 1.