Jim Wynn / channelAustin  reporting from NAB2012:

It’s been a long day, approaching 1:00 AM now.

The NAB convention floor was quite crowded all day, though I have never heard any actual attendance figures. I’ve gotten to see quite a few people that have been valuable to see and was able to say Hello to many of the vendors  with whom we’ve done business.

Ensemble Designs is introducing an new, more capable keying device which has the advantage over the logo inserters chosen for the upcoming upgrade project in that new graphics can be loaded into it from the Ethernet network rather than flash memory cards. This is well worth considering by us, though it is some time from production. Some of its features were literally only a few days old. I saw the new model studio cameras that we are getting in the Sony booth and I believe the users will be very impressed. They introduced a computer software program to be used for setting them up that looks very interesting to me as a video engineer. I looked at several pieces of equipment that might find its way into a future project and feel they will work nicely. I’ve seen less than half of the exhibits and will have more to talk about later.

In the evening Lloyd Swartz from the Institute of Texan Cultures in San Antonio and I attended the Creative Pro User Group Network Super Meet at the new Tropicana Hotel. There the host of the evening recognized representatives from User Groups around the world.

I had the opportunity to take a moment on stage to introduce the Capitol Macintosh User Group and our Digital Media SIG to this large community.

 

There were a number of very interesting presentations during the evening.

The first product shown was the new version of Autodesk Smoke for Macintosh. Smoke has a long and prestigious pedigree, being derived from very high-end, very expensive visual effects programs which have been used in elaborate television commercials, programs and feature films for over twenty years. It is more than just a video editing program and the people presenting it made the point and showed an elaborate commercial that had actually been edited in Final Cut Pro X, then brought in its entirety into Smoke to be polished and finished.
As an example, the artist demonstrating it added a completely convincing reflection of two beautiful women into the lenses of some sunglasses worn by a man in the commercial. He chose a shot of them, adjusted the size then their orientation in 3-D space, cropped the image and adjusted its brightness and transparency. He composited the image with the sunglasses while making the movement of their image track perfectly with the movement of the man’s sunglasses. Most impressively, it only took a few minutes, while the artist was explaining it to the audience. This was very impressive.  The new version will be available as a free public beta test from the www.autodesk.com web site. It will retail for $3,400. This is a fraction of what the predecessors of this program cost in the past, making it more accessible and affordable for a larger community of users.
The next presentation was from cinematographer Shane Hurlbut, who recently was the Director of Photography on the feature film “Act of Valor.” His goal on this film was to tell the story “through the eyes” (almost literally) of the United States Navy SEALS. They pioneered techniques of using the D-SLR still camera which have motion picture capture capabilities as the cameras used to shoot the majority of this action packed feature film. Many of the camera mounting devices invented for this film are now commercially available.
Canon has just introduced two new cameras, the motion picture oriented EOS-C500 and the D-SLR still and motion picture EOS 1D Cinema. They are both designed to shoot motion pictures with over 4000 lines of horizontal resolution. They will both be game changers. He showed clips from a short film which showcased many of the camera’s capabilities, including an elaborate sequence shot at night using virtually no additional lighting, but only the light existing in the urban environment and this included 60P slow motion. The images were of very high quality and served the story well.
Then, Al Mooney from Adobe Systems showed Premiere Pro CS6. The CS6 suite of programs includes two new ones, Prelude, which assists in ingesting, organizing, reviewing and tagging video to ease the editing process and Speed Grade which is a professional quality color corrector. All parts of the suite have been greatly improved. Premiere Pro features a new user interface which helps the user efficiently edit the material.The Mercury playback engine of Premiere has been improved and now supports the ATI graphics cards in certain MacBook Pro laptops using Open CL as well as the Nvidia CUDA from the past.
Blackmagic Designs showed one of the talked-about new introductions of this NAB, the Blackmagic Designs Cinema Camera. This camera will retail for only $2995, without a lens. It will use Canon mount lenses. It has a large LCD touchscreen on the back to facilitate the entry of metadata about the shots to make the post-production process easier. The CMOS sensor has an approximately 21/2 K horizontal resolution, which they described as a good compromise between resolution and a practical data rate. The camera can accommodate a solid state drive to store either uncompressed or DNxHD video. The native sensitivity is pegged at 800 ISO. I also includes a full copy of the famous DiVinci Resolve color correction program. The simplified Resolve Lite program is available from Blackmagic Design for free.
The last guest of the evening was the documentary director Morgan Spurlock. He is famous for “Supersize Me” and “The Greatest Movie Ever Sold.”  His latest film is ComicCon Episode IV: A Fan’s Hope” which is a look at the attendees of the annual ComicCon convention held in San Diego.
The entire film was shot in eight days, five of them being the convention itself. They has as many as twenty-five crew working and ended up with over five hundred hours of material in a variety of formats.  ”The Greatest Movie Ever Sold” was released only in theaters up against a series of blockbuster summer action films and never got the audience it deserved. This proved the theory that “the cultural death rate of ideas is two weeks.” “ComicCon,” on the other hand, was released in every digital format and forum available. This has proven to be much more successful.
More tomorrow from day three at NAB…

Canon USA today made quite a range of announcements revolving around the National Association of Broadcasters tradeshow, which is about to kick off next week in Las Vegas. The list includes a new video-oriented EOS-series professional DSLR and a Cinema EOS-series video camera, both with 4K resolution. There are also four new EF Cinema zoom lenses, a 30-inch 4K industrial display, and new firmware for XF-series camcorders.

First on the list–and likely the most interesting for Imaging Resource readers–is the Canon EOS-1D C, an 18-megapixel digital SLR that shares the same body and most of the same feature set as the EOS-1D X, but with a couple of slight hardware differences visible on the body’s exterior. Under the skin, theEOS-1D C is Canon’s first SLR to offer both 4K and Full HD video capture. (4K equals 4,096 x 2,160 pixels and Full HD is 1,920 x 1,080.)

So, what’s different in terms of hardware? Externally, the most notable difference is a new headphone port for audio monitoring, which replaces the 1D X’s flash sync port. (There’s hence no sync connector on the 1D C.) On the inside it’s not clear if the EOS-1D C uses the exact same sensor as in the 1D X, or has any tweaks in this area to achieve greater video bandwidth, but Canon tells our friends over at DPReview that it has reworked the camera’s internals to avoid overheating.

Pricing for the Canon EOS-1D C is set at around US$15,000, with availability at some point during 2012. Product specs follow below, as well as info on Canon’s other NAB announcements:

Canon EOS-1D C
Canon's EOS-1D C digital SLR. Photo provided by Canon USA Inc. Click for a bigger picture!
Canon's EOS-1D C digital SLR. Photo provided by Canon USA Inc. Click for a bigger picture!
Canon's EOS-1D C digital SLR. Photo provided by Canon USA Inc. Click for a bigger picture!
Canon's EOS-1D C digital SLR. Photo provided by Canon USA Inc. Click for a bigger picture!
Canon's EOS-1D C digital SLR. Photo provided by Canon USA Inc. Click for a bigger picture!
Canon's EOS-1D C digital SLR. Photo provided by Canon USA Inc. Click for a bigger picture!

 

 

 

 

 

 

 

 

Alongside the eyecatching 1D C, Canon has also announced its intention to produce a follow-on to the last year’s EOS Cinema C300 video camera.

Just like the EOS-1D C, the new Cinema EOS C500 camera is capable of 4K capture. Two variants will be offered, and just like those for the C300 will differ only in their choice of lens mount. The standard Cinema EOS C500 will have a Canon EF lens mount, while the Cinema EOS C500 PL will accept PL-mount lenses. Detailed specifications for this model aren’t yet available. A prototype will be shown at NAB, and the final versions should ship later this year.

Alongside both cameras, Canon has announced four new EOS Cinema-series lenses. Two are wide-angle zooms: the CN-E15.5-47mm T2.8 L S* (for EF mounts) and the CN-E15.5-47mm T2.8 L SP* (for PL mounts); and two are telephoto zooms: the CN-E30-105mm T2.8 L S* (for EF mounts) and CN-E30-105mm T2.8 L SP* (for PL mounts).

Also of interest given the 4K video capabilities of the EOS-1D C and Cinema EOS C500 models is a mighty 30-inch, 4K resolution video display said to be under development at Canon. A prototype will be shown at NAB, and the display should reach the market this year, although no guidance on pricing and availability was offered.

Finally, Canon has launched updated firmware for all four camcorder models in its XF-series, the Canon XF305, XF300, XF105, and XF100. The new firmware enables 1,440 x 1,080 pixel, 35Mbps recording. The frame rate depends on the camcorder’s video-mode setting; either 60 interlaced fields per second for NTSC video, or 50 fields per second for PAL.

PRESS RELEASE

Canon U.S.A. Introduces EOS-1D C Digital SLR Camera Featuring 4k High-Resolution Video Capture

Newest Addition to the Canon Cinema EOS Product Line Combines the Convenient Form Factor of a Digital SLR Camera with Full HD and 4K Video Recording up to 4096 x 2160-Pixel Resolution

LAKE SUCCESS, N.Y., April 12, 2012 – Continually advancing the frontiers of digital high-resolution motion-image capture for film, television, and other industries, Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the EOS-1D C digital single-lens reflex (SLR) camera.* Delivering outstanding video performance, the compact, lightweight EOS-1D C provides video recording at 4K (4096 x 2160-pixel) or Full HD (1920 x 1080-pixel) resolution to support high-end motion picture, television production and other advanced imaging applications.

Equipped with an 18.1-megapixel full-frame 24mm x 36mm Canon CMOS sensor, the camera records 8-bit 4:2:2 Motion JPEG 4K video to the camera’s CF memory card at 24 frames-per-second (fps) or Full HD 1920 x 1080 video at selectable frame rates from 24p to 60p, making it possible for next-generation visual expression with even higher image-quality and resolution performance.

“The Canon EOS-1D C digital SLR camera was designed in response to the needs of filmmakers, television producers, and other high-level motion-imaging professionals,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “Not only does it combine 4K and Full HD video capture with a convenient design, its use of dual CF cards also offers an efficient workflow compatible with today’s post-production requirements.”

Creative Control
The Canon EOS-1D C digital SLR camera incorporates Canon Log Gamma to enable the recording of high-quality video with rich gradation expression, making possible the type of impressive image quality required in motion pictures by maximizing both highlight and shadow detail retention while also providing a high level of color-grading freedom. The EOS-1D C’s full-frame 24 x 36mm 18.1-megapixel Canon CMOS sensor makes possible a wide range of creative imaging expression, such as image-blur effects. Additional features include an expanded sensitivity range of up to ISO 25600 for exceptional motion-imaging results with reduced noise even in low-light settings. The camera’s ability to record 8-bit 4:2:2 4K and 8-bit 4:2:0 Full HD video to CF cards eliminates the need for an external recorder and enables workflows with increased mobility. If desired, however, captured video (excluding 4K video) can be output from the camera’s HDMI terminal to an external recorder using an uncompressed YCbCr 8-bit 4:2:2 signal.

4K video is captured by an approximately APS-H-sized portion of the full image sensor, while Full HD video can be captured in the user’s choice of two different imaging formats:

  1. The standard Full HD setting captures the full 36mm width of the CMOS sensor to achieve the largest possible angle of view for any compatible lens.
  2. An optional Super 35 crop setting enables cinematographers to match the industry-standard imaging format and angle of view achieved by traditional motion picture cameras. This enables video footage from the EOS-1D C camera to more closely match the look of footage from other cameras in multi-camera shooting environments.

Other useful video-related features on the EOS-1D C DSLR include a built-in headphone jack for real-time audio monitoring, and the ability to view the camera’s LCD even when the HDMI port is connected to an external monitor. The EOS-1D C camera uses the same LP-E4N battery pack as the EOS-1D X, and it can also be powered by an optional AC Adapter Kit.

The EOS-1D C camera ships with Canon software applications including EOS Utility, which enables various camera settings to be adjusted from a PC, and Picture Style Editor. These two personal computer applications enable users to view the camera’s live output on an external monitor1 and adjust the image in real-time to maximize shooting and post-production efficiencies. The software also ensures no loss of quality for 4K/Motion JPEG and full HD/60p video displayed on the external monitor, and it enables video shot with Canon Log Gamma to be output on the monitor with video gamma applied.

Versatility and Value
The Canon EOS-1D C camera can be used to capture still images with more than 60 interchangeable Canon EF and EF Cinema Lenses, all of which are designed to deliver exceptional image quality to maximize the potential for creative visual expression. The compact size and lightweight design of the camera make it easy to carry so it is highly mobile for convenient shooting inside automobiles and other confined spaces. Its compact size also enables peripheral equipment such as rails and cranes to be more compact, which can facilitate smoother handling and reduced costs on-set. The camera’s low-light capabilities can also help to minimize lighting costs and increase versatility for lighting.  For added usability, record start/stop can be remotely controlled by EOS Utility Software via an optional Canon WFT-E6A Wireless File Transmitter.

Realizing the same exceptional still-image performance as the recently introduced Canon EOS-1D X digital SLR camera, the camera provides a sensitivity range of ISO 100-51200 for outstanding still-image results with reduced noise, even in dimly lit settings. Incorporating high-performance Canon Dual DIGIC 5+ image processors, the EOS-1D C delivers high-precision AF and AE performance while also enabling high-speed continuous shooting of up to approximately 12 fps. In the ultra-fast continuous shooting mode, the EOS-1D C provides a continuous shooting speed of up to approximately 14 fps (mirror remains raised during shooting; JPEG images only).

The Canon EOS-1D C digital SLR camera is scheduled to be available within 2012 at a suggested retail price of $15,000.

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* This device has not been authorized as required by the rules of the Federal Communications Commission. This device is not, and may not be offered for sale or lease, or sold or leased, until authorization is obtained.
† Based on weekly patent counts issued by United States Patent and Trademark Office.

1 Requires the use of a PC equipped with an SDI port.

All referenced product names, and other marks, are trademarks of their respective owners.

Availability, prices, and specifications of all products are subject to change without notice. Actual prices are set by individual dealers and may vary.


Canon Announces Development Of 4k Digital Cinema Cameras

LAKE SUCCESS, N.Y., April 12, 2012 – Canon Inc. is developing two digital cinematography cameras as part of its acclaimed new Cinema EOS System of professional cinematography products. Designated as the Cinema EOS C500* for use with EF-mount lenses, and the Cinema EOS C500 PL* for use with PL-mount lenses, the cameras will be capable of originating 4K (4096 x 2160-pixel) resolution digital motion imagery with uncompressed RAW output for external recording, in response to growing expectations for higher levels of imaging performance in premium Hollywood films and other production markets requiring the utmost in picture quality.

“With the unveiling of our Cinema EOS System last November to great acclaim, Canon marked our full-fledged entry into the motion-picture production market,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “To further serve the needs of Hollywood’s premier filmmakers, Canon is developing the Cinema EOS C500 and Cinema EOS C500 PL digital cinematography cameras, which deliver the added benefit of full 4K motion-image capture to the Cinema EOS System.”

The 4K imaging format is emerging as the new standard for advanced effects and post-production in Hollywood, and it is particularly important for big-budget motion pictures that include scenes compositing live-action cinematography with high-resolution computer-generated imagery. The Cinema EOS C500/C500 PL digital cinematography cameras will not only support 4K-resolution video but also outputs this as a 10-bit uncompressed RAW data stream with no de-Bayering.  The cameras offer the additional versatility of being able to output quad full-HD (3840 x 2160), 2K (2048 x 1080), full HD (1920 x 1080), and other imaging options. All of these digital image source formats fully conform to established SMPTE production standards.  All 4K formats can be selected to operate from one to 60 frames per second.  The cameras employ a 12-bit RGB 4:4:4 signal format during 2K output, which can be selected to operate from one to 60 frames-per-second (fps) as well. If switched to a 10-bit YCrCb 4:2:2 mode, the camera can operate up to 120 fps.

The Cinema EOS C500 simultaneously records in-camera a 50 Mbps HD proxy video to a CF card that is immediately available to support offline editing. Equipped with a newly developed Super 35mm-equivalent approximately 8.85-megapixel CMOS sensor, the cameras will be compatible with Canon’s wide range of interchangeable EF Cinema and PL-mount lenses and EF lenses for Canon SLR cameras. Highly mobile and compact for filmmaking versatility, the Cinema EOS C500/C500 PL digital cinematography cameras  – like Canon’s Cinema EOS C300/C300 PL cinematography cameras – provide all of the same ergonomic features, except for the rotating hand grip.

Further details regarding the Cinema EOS C500/C500 PL digital cinematography cameras – including specifications and pricing – have yet to be decided. Plans call for these new products to be launched later this year. In addition to targeting a swift launch of these cameras, Canon will continue to enhance other components of its Cinema EOS System product lineup, which is designed to contribute to the continued advancement of tools for visual expression and the development of cinematic culture.

Canon will display a prototype of the Cinema EOS C500/C500 PL digital cinematography camera at the 2012 NAB Show in booth C4325 at the Las Vegas Convention Center from April 16 to 19.

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* This device has not been authorized as required by the rules of the Federal Communications Commission. This device is not, and may not be offered for sale or lease, or sold or leased, until authorization is obtained.

† Based on weekly patent counts issued by United States Patent and Trademark Office.

All referenced product names, and other marks, are trademarks of their respective owners.

Availability, prices, and specifications of all products are subject to change without notice. Actual prices are set by individual dealers and may vary.


Canon U.S.A. Announces Development Of Four EF Cinema Zoom Lenses

A Wide-Angle Cinema Zoom and a Telephoto Cinema Zoom, Available in EF- and PL-Mount Versions, Will Further Expand Canon’s Cinema EOS System of Professional Digital Cinematography Products

LAKE SUCCESS, N.Y., April 12, 2012 – Building upon the historic November 2011 introduction of the Cinema EOS System of professional digital cinematography products, Canon U.S.A., Inc., a leading in digital imaging solutions, today announced the development of four EF Cinema zoom lenses. Designed to deliver exceptional optical performance on 4K resolution Super 35mm-equivalent cameras, each of the four lenses features a compact, lightweight design to facilitate handheld and SteadicamTM shooting while also covering a wide range of focal lengths. Included are two wide-angle cinema zooms – the CN-E15.5-47mm T2.8 L S* (for EF mounts) and the CN-E15.5-47mm T2.8 L SP* (for PL mounts) – and two telephoto cinema zooms – the CN-E30-105mm T2.8 L S* (for EF mounts) and CN-E30-105mm T2.8 L SP* (for PL mounts).

“Canon’s introduction of EF- and PL-mount versions of the EOS C300 digital cinema camera was well received by the film and television production communities,” noted Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “The development of these EF- and PL-mount cinema zooms will help add to the rich diversity of creative imaging choices available to the many film and television professionals who have embraced the new Cinema EOS System.”

A leading maker of precision lenses for professional digital photography, broadcast HDTV sports and news coverage, and many other markets, Canon has leveraged its years of expertise as a world leader in optics and imaging to develop its latest EF Cinema lenses. These wide-angle and telephoto cinema zooms will be compatible with industry-standard Super 35 mm-equivalent cameras and are engineered to deliver exceptional optical performance to support 4K resolution digital filmmaking. The four lenses will perfectly complement the compact body design of Canon EOS digital cinematography cameras with their own compact, lightweight design featuring a form factor well-suited for hand-held use, or for mounting on Steadicam or other lightweight, highly mobile camera-support devices used for cinema verité, “run-and-gun” shooting, or other rapid-action filmmaking.

The developments of these EF Cinema lenses are essential to Canon’s Cinema EOS System of professional digital cinematography products, which include digital cinema cameras, a digital SLR camera, and a wide variety of advanced lenses. Canon will continue to enhance its Cinema EOS System product lineup to support diverse image creation in motion picture, television, and other high-resolution digital production industries. All of these products are designed to contribute to the continued advancement of tools for visual expression and express Canon’s commitment to cinematic culture.

Canon will be displaying prototypes of the cinema zoom lenses at NAB Show 2012, one of the world’s largest events for the video, broadcasting equipment and digital media industries, from April 16 to 19 in Las Vegas.

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* This device has not been authorized as required by the rules of the Federal Communications Commission. This device is not, and may not be offered for sale or lease, or sold or leased, until authorization is obtained.

† Based on weekly patent counts issued by United States Patent and Trademark Office.

All referenced product names, and other marks, are trademarks of their respective owners.

Availability, prices, and specifications of all products are subject to change without notice. Actual prices are set by individual dealers and may vary.


Canon To Exhibit Prototype of 30-Inch 4K Industrial Video Display Currently Under Development at NAB 2012

LAKE SUCCESS, N.Y., April 12, 2012 – Canon Inc. today announced that the Company is developing a 30-inch, 4K resolution industrial video display*, a prototype of which will be exhibited from April 16 to 19 at the NAB Show 2012, the world’s largest international digital event for audio, video, film, broadcast and communications, held in Las Vegas.

The prototype to be displayed will provide support for cinema and other video editing processes while also responding to film production needs for consistency and reliability through proprietary Canon high image-quality technology. While detailed specifications and pricing have yet to be finalized, Canon aims to commercialize the display before the end of 2012.

About Canon U.S.A., Inc.
Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With approximately $45.6 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in U.S. patents registered in 2011† and is one of Fortune Magazine’s World’s Most Admired Companies in 2012. Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

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* This device has not been authorized as required by the rules of the Federal Communications Commission. This device is not, and may not be offered for sale or lease, or sold or leased, until authorization is obtained.

† Based on weekly patent counts issued by United States Patent and Trademark Office.

All referenced product names, and other marks, are trademarks of their respective owners.

Availability, prices, and specifications of all products are subject to change without notice. Actual prices are set by individual dealers and may vary.


New Firmware Enhances Canon XF-Series Camcorders, Supporting Popular Broadcast Recording Format

New Firmware Enables 1440 x 1080 35mbps Recording at 60i or 50i for Canon’s XF305, XF300, XF105, and XF100 Professional Camcorders

LAKE SUCCESS, N.Y., April 12, 2012 – Canon U.S.A., Inc., a leader in digital imaging solutions, today announced a new firmware update for all four models of the Company’s XF-series professional camcorders, enabling a new 35mbps recording mode. The new firmware enables a highly utilized recording mode, popular with many major news broadcast corporations, capturing 1440 x 1080 HD video at 35mbps at 60i or 50i. This format is designed to help the camcorders seamlessly align with standard workflows used by many major news broadcast organizations. Once the firmware is installed, the recording mode will be accessed through the regular mode selection menu on the camcorder and the frame rate will be automatically selected, dependent on the camcorder’s PAL or NTSC setting. All previously supported XF-series video resolutions and frame rates will remain available in addition to the newly supported recording format.

“We are happy to continually enhance the capabilities of our products and technologies to meet the needs of professionals in the marketplace. This new firmware will enhance our ability to satisfy the diverse technical needs of broadcast news organizations,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A.

The firmware is expected to be available for download at the end of May 2012 for all XF-series camcorders and will be available on the individual product pages through the Canon website.

About Canon U.S.A., Inc.
Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With approximately $45.6 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in U.S. patents registered in 2011† and is one of Fortune Magazine’s World’s Most Admired Companies in 2012. Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

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† Based on weekly patent counts issued by United States Patent and Trademark Office.

All referenced product names, and other marks, are trademarks of their respective owners.

Availability, prices, and specifications of all products are subject to change without notice. Actual prices are set by individual dealers and may vary.

It’s been rumored for months – Thursday, Al Mooney, Product Manager for Adobe Video Products, made it official – Adobe will out the latest update to its venerable Premiere video editing platform next week at NAB:

Today is a really big day here at Adobe. Today is the day we on the Adobe Premiere Pro team – indeed, all of us from the Professional Video group  – have been (im)patiently waiting for, for what seems like an eternity. Today we’re revealing CS6 Production Premium to the world, and the best version of Adobe Premiere Pro ever, in CS6. All the info is here (and be sure to look at the Premiere Pro specific link to the right to get all the juicy facts on what’s new). Cue the clinking of the glasses of many a hard-working engineer and tester (and the odd Product Manager or two, too).

Premiere Pro CS6 comes just 12 months after our last big update (CS5.5), but this is a massive release, and the entire team is extremely proud of what we’ve been able to accomplish. We’ve already built a very powerful system under-the-hood with the (Freddie) Mercury Playback Engine (which has been further improved in this release) and so this time we wanted to focus on the overall editing experience – on how it feels to spend real time with Premiere Pro in those long creative edit sessions. Based on extensive discussions with professional video editors, we’ve put our efforts on building a sleek new user interface with a square focus on what matters to a video editor most – the media – and optimized or redesigned features crucial to editing today, like multicam, audio, trimming, and so much more. We think this is the best editor in the world and hope you do too… (I know every dad says this about their newborn, but it’s gorgeous, right?)

 For those of you who are going to be in Vegas for NAB next week, be sure to come to the Adobe stand (SL#2624) and see it in action – or indeed at any one of our ever-increasing number of partners’ plots at the show. If you can’t make it, I’m sure you’ll see loads of great content on the web over the coming days (keep your eyes here for more info as it happens).

 We want Premiere Pro to be the number one choice of NLE for video professionals worldwide, whatever kind of work they do, and hope you’re as excited by the CS6 release as we are. We hope to get to clink glasses with some of you out in Las Vegas next week.

Jim Wynn of channelAustin, and Lloyd Swartz of the UTSA Institute of Texan Cultures will be reporting back from the NAB Convention this week on new technologies and products they find of interest.

Apple Barton Creek will be hosting a series of free Final Cut Pro workshops this month:

  • Final Cut Pro X: Importing and Exporting Media – Monday, March 12th at 9:00 am
  • Final Cut Pro X: Editing and Effects – Tuesday, March 13th at 9:00 am
  • Final Cut Pro X: Sharing and Archiving Media – Wednesday, March 14th at 9:00 am

Space is limited, so be sure to reserve your space now for these free events.

All workshops will be held at Apple’s Barton Creek Store.

 

 

Here are the links to the Final Cut Pro X resources we mentioned at tonight’s meeting:

As always, if you have any other favorites, please leave a comment and we’ll be glad to add them.

We will keep an updated copy on our Wiki as well.

 

Final Cut Pro X offers both new and experienced editors amazing new features and power.

At our March 28th DigitalMedia SIG, we’ll explore  Final Cut Pro X basics, and what you need to get started. We’ll go hands-on with a demo of the basic features, and examine basic workflows to make your editing faster and more fun:

  • Import, evaluate, and keyword footage
  • Explore simple editing techniques
  • Add sound and effects
  • Look at titling and color effects
  • Export and share footage for a variety of uses

We’ll meet again in the Main HD Studio at channelAustin, 1143 Northwestern Ave, Austin, TX  78702.

Meetings are free, and everyone is welcome to attend.

Producers and artists have a new home starting later this month – CapMac’s new Digital Media SIG.

Our new group welcomes artists from all the digital media:

  • Videographers, lighting, sound, and talent crews
  • Editors, audio recording and post, colorists, motion graphics, animation
  • Talent, producers, crew members
  • DSLR enthusiasts for still or video

Meetings will be hosted in the new HD studios of channelAustin, on the fourth Wednesday every month, from 7:00 – 9:00pm.

Anyone with an interest in any aspect of digital media – from novice to pro – is welcome to attend.

Meetings are free – light refreshments and drawing for free door prizes for those attending.