NAB 2016: What is standing the test of time? (The 1 Week Edition)
So here we are, a week past the "actual" end of NAB 2016, and I'm asking myself, what's still worth talking about a week later? Because if it ain't worth talking about a week later, is it worth talking about?
I know that we talk about all kinds of stuff here, but "Everything" is itself not typically the topic....so I'd like to open up the discussion to "Everything."
What's still worth talking about?
What do you need to hear more about before you decide if it's worth talking about?
Here are some things I've noticed:
Software, it's Resolve and Keyflow Pro.
Apple is always interesting in absentia. "Something coming soon" is plausible. It was June when we first saw X after the curtain rose at NAB, so sure, why not.
Lytro has certainly raised questions.
No other camera news worth talking about?
Me, I think an NAB without a new "disruptive" camera is a GOOD thing. We need more of those. LOL New firmware, more options, stuff like that. A little time to catch our breath. That's just my opinion. What about you?
I know that a lot of people go to NAB to look at storage. Any thoughts from what you saw? Big, big crowds around Avid's new NEXIS (my preliminary pick for best storage story...but I'm still looking), and, of all people, G-Tech, but others too. I wasn't standing there counting, but my gut instinct is that there were more people looking at storage than cameras...but maybe just because there was so much more to look at.
Which raises another question: are you actually looking at more storage? New storage? Anything along those lines?
Those are always gonna be my PERSONAL big three: storage, cameras, and software...but what about you?
Last but not least, what are the questions I'm failing to ask?
Two things that caught my attention is the Ripple panel frim Tangent and the Automatic Duck plugin to ship clips from Final Cut over to Motion which will be available later this year.
Resolve is starting to look more impressive but without a beefy system I am a bit uncertain as using it as an editor right now. One thing that really tickled me pink is the Fusion Connect command which will be a huge time saver. The deliever page has improved and more FX available. I do wish software makers woud focus with what's under the hood rather than go for a new, shiny interior or a jaw dropping body on a car (no super models). Talking about the latest and greatest feature though fad is a better description.
Disappointed that there has been no update to Final Cut Pro X as of yet. Then again this should not come as a surprise. I am really hoping for a role based mixer, the ability to apply a video transition without adding an audio dissolve at tne same time, precision editor in a secondary storyline and being able to save a custom layout. One other request would be to set your preference for spatial conform. To me, it's the little things that matter most. The latest fad (feature) is of a little use when playback performance or other meaningful improvements are put aside.
The only piece of hardware is the Ripple panel from Tangent thst really caught my eye. I cannot believe how "expensive" it is. I was worried about the build quality but after reading what others had to say it is next on my list of things to purchase, right with the update to Color Finale which is scheduled to be available very soon.
Other than that I added some products from Moion VFX, Core Melt and Ripple Training to my system. I even purchased Shot Notes X to make for a more efficient workflow.
One last item is Boris FX offerings. I am planning on going with a subscription plan with the new version. Still not out for Final Cut as of yet but there will be an automatic update once available. That is all for now!
[Bill Davis] "Oliver, what stuck with you? Anything you noticed that you think that you'll look back on NAB 2016 and remember as the year (IDEA X) changed things?"
My gut feeling was that this was a "selling" show. A lot of product that was shipping or very close to that. Less vaporware than normal. 4K is mainstream - at least everyone has real products addressing it. 8K is still far off for most, but it was there.
HDR struck me as more "smoke and mirrors" as I looked at more and more solutions on the floor. Very ill-defined at this point. Most displays seem to bank on the "Best Buy" effect (crank up the "vivid" mode), rather than real science or viable post workflows, IMHO.
360VR strikes me as a niche - albeit a large one (maybe). Since I've worked in themed attraction productions, things like 8K and 360VR seem quite viable to me in specialized circumstances. I just don't see these as the way most of us will do productions for many years, if ever.
As far as FCPX, I didn't see nearly as much FCPX presence in and around the show, as some have stated. It was almost all Premiere Pro, including video journalists in the press room. However, as I looked around at the audience in the "WTF" keynote at PPW on Sunday, I did get the sense that a lot of the folks seemed like they were hearing some of the workflow benefits for the first time.
There were certainly some cool products, like AJA HELO, AJA KONA IP, the Blackmagic 4K SD card recorder/duplicator, the GoPro HERO4 array for flat 360 (16 GoPros in a Circle-Vision style rig). I liked Avid NEXIS - struck me as only applicable to the big boys and the first chance Avid had to drop the ISIS name. But it also struck me that Avid is delusional, because some within the company seem to think Avid storage can live on its own without the customer wanting to also invest in Media Composer as their hero NLE. In fact, at Avid Connect's new products keynote, MC received NO mention, even though 8.5 is still a recent update and one of their best. What DID get a mention was their Media Central UX (interface to search and access media in Avid storage) control panel for Premiere Pro. Hmm.....
Drones were also big - both figuratively and literally, with a lot of good alternatives to DJI, which seems to be the favored system in the past few years.
Sony was a yawn. Panasonic was a yawn, except for Varicam LT. RED has a good story to tell, but friends of mine who were shopping cameras there were put off by RED's usual squishy delivery schedules. ARRI still makes the best image (to my eye) even if you want to argue whether or not it's truly 4K. I don't care. In the testing I've done, even early Alexas HD video (and then upscaled to UHD 4K) still looks better than many actual UHD (4K) cameras on the market today. The exception would maybe be the BMD URSA Mini 4.6 or the AJA CION. But I digress...
So no, I didn't see anything that I would call a "game-changer" at NAB 2016. Everything was more evolutionary than revolutionary.
Oliver Peters Post Production Services, LLC
[Oliver Peters] "Sony was a yawn. Panasonic was a yawn, except for Varicam LT. RED has a good story to tell, but friends of mine who were shopping cameras there were put off by RED's usual squishy delivery schedules. ARRI still makes the best image (to my eye) even if you want to argue whether or not it's truly 4K. I don't care. In the testing I've done, even early Alexas HD video (and then upscaled to UHD 4K) still looks better than many actual UHD (4K) cameras on the market today. The exception would maybe be the BMD URSA Mini 4.6 or the AJA CION. But I digress..."
Totally agree here. I think the Ursa Mini 4.6k and the Cion are a COMPLETE STEAL at $5k US (assuming you get a working Ursa Mini). I agonized over choosing one or the other this year, but came away with the Mini4.6 for various reasons. I'll also add that I'm pulling for the Craft Camera and Kinefinity's newest 6k offering.
I still find it rather irritating that the mainstream manufactures refuse to deliver 10/12bit, 4:2:2 cameras for less than $15k. I can almost understand making internal raw recording the thing that delineates the product lines... or maybe even dynamic range, but 4:2:2, 10bit?!?! I feel as if that should be the standard rather than the exception for anything considered a professional capture device (in the 21st century). Not that I don't adore the Canon C100 MKII, or Panasonic's GH4 and DVX-200 (though, I'm still not exactly sure who this camera is for).
[Oliver Peters] "I just don't see these as the way most of us will do productions for many years, if ever."
As much as I tend to hype, I'm not feeling much VR, but I'm VERY much feeling 360. It's already moving into the kinds of mainstream where very many of you are working -- news at the New York Times, red carpet events, Coachella, YouTube, etc. I think perhaps most immediately as things like DVD extras and their streaming equivalents -- that is, not MOVIES, but things that allow you look around sets and stages. All the way around behind the scenes if you will.
Videoblocks is also already monetizing 360 stock, and I KNOW there are a lot of stock shooters among us.
I'll save the rest for an essay I'm working on, including why I'm less bullish on VR than 360, but I think it will be PART (but no more than a part) of what more folks are doing than they might think, sooner than they might think.
[Oliver Peters] "it also struck me that Avid is delusional, because some within the company seem to think Avid storage can live on its own without the customer wanting to also invest in Media Composer"
Surely this was NAB jiggery-pokery, right?
Bill's understandable impression notwithstanding, there's simply no question in my mind that Adobe is the current big dog at NAB, and if you want to swing for the fences, there's no point in delivering a solution that doesn't include Adobe compatibility.
Not that there's anything wrong with bases-clearing doubles for FCPX-only solutions, but no kidding, anybody playing to win is taking Adobe alllll the way into account.
Because my experience inside Avid was that they knew that Media Composer is the ONLY reason why anybody buys Avid storage. They just also know intimately that the days of shops with Avid-only approaches are long gone, if they ever existed.
(I'm not sure they ever did, but I'm CERTAIN they're hella rare anymore.)
You can see this yourself if you suggest to anyone there that they "admit that MC is done" and just become a storage and services company. Uhm, MC is NOT done -- as Herb observed, the Avid booth was as packed as any on the floor -- and it's the beating heart of any of their workgroup based storage solutions.
That said, if anybody there DOES believe that a non-MC customer will even glance twice at NEXIS, I agree: delusional.
Here's my observation as a geezer. There was a time when NAB attendance was rare. Initially, the only people who went were actual broadcasters. Then the first wave of "cheap" NLEs that were in fact well into 5 figures led to people going to NAB to check out robust video storage, and emerging digital solutions, including DigiBeta and SDI.
Even into the turn of the century, the majority of FCP folks were folks relying on SDI solutions, including Cinewave.
This made sense. Travel to Vegas was hard. Freebie tickets were not widely available. There were very few rooms available at discounted rates.
It's only been since 2002-ish, 2003-ish has become a mainstream thing, as tickets to Vegas have gotten dirt cheap, discounts are everywhere, and nobody in their right mind is buying tickets for it. Any stereotypical YouTube vlogger with an attitude can to get to NAB and back, staying at real places and eating real food, for the price of a couple of GoPros.
As a result, EVERYONE's messaging has trended downmarket from the niches they were in 15, 18, 20 years ago. As deplorable as many here find subscriptions to be, it makes the barrier to entry less than $100, instead of $1000, or a bottom of the line $20,000 MC as recently as 10 years ago.
(This is the 10th anniversary of MC Soft! Which I was privileged enough to introduce on the NAB stage myself.)
I don't think that this has turned NAB into an extension of the Supermeet...but it kinda has. And even the first Supermeet (which I was at -- and the year BEFORE that, I was encouraging Michael Horton to do it, when he didn't believe that NAB was "an FCP show") understood itself to be not 100% mainstream. And it wasn't.
And now it is.
I don't think this is by any means a bad thing. I was certainly one of the people exerting "downward" pressure on NAB 20 years ago. But I do think the overwhelming success of this leads to a distortion of messaging (you're right, Oliver: pitching NEXIS as a specifically PPro solution is nonsense), and an unhealthy obsession with shiny.
Which is one of the most revolutionary things of all about this year to me: bucking the trend toward "innovation" and focusing instead on "growth."
More of this, please. :-)
I'm definitely learning more about things I missed, so please keep those observations and opinions coming, y'all!
[Tim Wilson] "Those are always gonna be my PERSONAL big three: storage, cameras, and software...but what about you?
Last but not least, what are the questions I'm failing to ask?
At the risk of once again sounding like I'm anti-Adobe (and I'm actually not except for the part about the "sticky-ness" of the current subscription model) when I was watching the ABOBE stuff, the thing they seemed to promote heaviest this year at NAB was Adobe Stock - their in-the application photo licensing play. They were pitching it as a way for pro and lucky amateur photogs (and presumably stock video shooters) to make extra income from their best photos - a kinda sorta crowd sourced shutter stock?
Which seemed pretty cool to me at first, and then I realized that it can also be viewed as the first step in "app-izing" their regular applications. After all, "in app purchasing" is what drives most of the revenue in the app market space. The actual app is free or nearly so, the revenue stream from in-app purchases is what really matters.
IF this is an extension of that "in-app phone purchasing" model into core software, it's a pretty big play, IMO.
Will we someday see FCP X have an iTunes music store area dedicated to buyout production music directly in the app?
Will Resolve plumb in a "pay for famous color grades" gallery?
Why or why not! More revenue from the programs plumbing, rather than the features of the application itself.
Evidence of the new thinking that the new business models are making possible.
One of the few things that stuck with me on the plane ride home. FWIW.
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[Bill Davis] "They were pitching it as a way for pro and lucky amateur photogs (and presumably stock video shooters) to make extra income from their best photos - a kinda sorta crowd sourced shutter stock?
AFAIK all the stock footage sites accept content from independent shooters so Adobe is just letting people know that Adobe Stock works like that too.
[Bill Davis] " After all, "in app purchasing" is what drives most of the revenue in the app market space. The actual app is free or nearly so, the revenue stream from in-app purchases is what really matters. "
I think a distinction needs to be drawn between in-app purchasing (which is just buying something from w/in an app) and the freemuim business model where you give away (or sell very cheaply) a barebones app but then charge users a fee to unlock features (more filters in photography app or batch uploading for a cloud storage app etc.,). It's a much maligned business approach (especially in the game community) but consumers love 'free' so it's business reaction to race to the bottom that has gutted software companies over the last few years.
What Adobe is doing (and what Avid did 4 or 5 years ago but it never really caught on) is offering a portal from within the app that connects you to first and third party content that you'd normally have to leave the app in order to access. Instead of leaving the app to get a photo from Adobe Stock or a video clip from Pond5 or an effect from That Studio you can just do it from within PPro. I don't see this as a tiptoeing towards a freemuim model (as that wouldn't jive with their subscription approach) but just Adobe offering convenience to their users.
Avid's attempt at this wasn't nearly as smooth because it really wasn't integrated the way Adobe's panels are. With Avid, when you clicked on the Avid Store button (or whatever it was called) it would basically open up a web browser within Avid and you'd be on an 'app store' type web page that had all Avid plugins and the like. When you bought something you'd still have to manually install it so it didn't do much for users aside from showing off how relatively small MC's 'eco system' is.
[Bill Davis] "Will Resolve plumb in a "pay for famous color grades" gallery?"
There are companies/people that sell Resolve presets and I think it would be cool if Resolve could do something like Adobe is doing so you could have a one click, buy-and-install experience directly in the app.
Agree with everyone's comments so far, and will add this:
Large scale "Jumbotron" direct LED panels are approaching a level of resolution that may render projectors obsolete! The "pitch" of each individual LED is now down to .8mm, which means if you're more than 15 feet away from the screen, the image looks extremely impressive.
There were giant sized walls (25 ft high by 30ft wide) displaying 8K video that was spectacular. I was considering installing a traditional projector and screen for one of our large gathering spaces, and now I'm thinking LED panel instead. This technology has really advanced in just the last year. The LED panels are brighter than any projector, and work in a daylight environment in ways that are just impossible for the old projectors and screen.
My take away is that these large LED panels are going to become even more ubiquitous as cost comes down. This translates to more business opportunities for the creative community for programming to fill all these screens.
Maybe OT, but I was recently at Disney's Hollywood Studios in Orlando and saw the Frozen Sing Along show. There was a huge backdrop that looked very well painted or printed of the castle. I was just amazed at how good the resolution was of that print. Not a pixel could be seen. And I was in the front row and it was only 35 feet away perhaps and 50ft wide by 30 feet tall. Pretty big in any case.
But then the show started and it started showing scenes from the movie. Holy moly not a pixel could be seen. Had to be 8k or more and immaculate. Blown away. On closer inspection it was likely made of tons of smaller display panels but so many that it had a nice arc to it without the panels being noticeable. No breaks or seams. One HUGE display of what appeared to be limitless resolution.
- still hard for a video recording to do it justice of course.
Before 2015 and/or at DisneyLAND it appears to have been run of the mill projection that looks washed out in other videos.
Anyway, I was impressed. But for all I know it's old tech. I don't get out of the basement much!
[Bret Williams] "But then the show started and it started showing scenes from the movie. Holy moly not a pixel could be seen. Had to be 8k or more and immaculate. Blown away. On closer inspection it was likely made of tons of smaller display panels but so many that it had a nice arc to it without the panels being noticeable. No breaks or seams."
I'm not sure if this is being used; however, at NAB, there was a Planar-Leyard 8K LED screen that sounds very similar to this. Very impressive.
Oliver Peters Post Production Services, LLC
I guess if anyone had the money, Disney would.
[Tim Wilson] "No other camera news worth talking about?
Me, I think an NAB without a new "disruptive" camera is a GOOD thing"
How about a fully modular camera from a secret company? Is that disruptive enough for you? ;)
I put "disruptive" in quotes because I don't know that we've actually seen a "disruptive" camera in the precise nature of the word.
As the owner of the first 2 RED cameras off the line notes, RED most explicitly does NOT fit the bill. Superlative analysis here: The RED Camera Was Not A Disruptive Innovation.
That said, I'm floored by the Lytro. The idea of being able to set focus and shutter in post, extract keying data from depth maps, etc., strikes me as a staggering amount of science, backed by the most extensive optics innovations in years. It's currently the size of a compact car, to accommodate the giant brain behind the system, so obviously only useful for a handful of applications (I'd think more or less limited to soundstages)....but I can't imagine that the future of filmmaking isn't visible in this.
Of course, as Shawn notes, 4:2:2 10-bit should have been "the future" a long time ago.
ALSO of course, I'm wrong about a lot of things, and the future is consistently at the top of the list of where I miss the mark....but that ain't gonna stop me! LOL
[Tim Wilson] "That said, I'm floored by the Lytro. The idea of being able to set focus and shutter in post, extract keying data from depth maps, etc., strikes me as a staggering amount of science, backed by the most extensive optics innovations in years."
I couldn't find the Lytro on the floor - it wasn't listed in any of the guides except for off floor demo's. In any case I do believe the Lytro is a major innovation - the first truly "digital" camera in that it's creating, on a frame by frame basis, a digital map of an image including z axis, as opposed to recording only the light reflecting off the image to one spot. It will take years, but I'm guessing something like this will be the future of motion pictures.
nothin' attached to nothin'
"Deciding the spine is the process of editing" F. Bieberkopf
[Tim Wilson] "Software, it's Resolve and Keyflow Pro"
Thanks for mentioning KeyFlow Pro Tim. I don't think the world really gets what this application is capable of, but I think the next few updates are going to blow minds.
This is me, Monday, in an Uber screening footage from the office Keyflow Pro server over an LTE connection. At the same time the team in office were logging SOTS with markers so I could write scripts and build a storyboard. This is not a screen share, this is an actual client to server connection. No cloud needed.
John Davidson | President / Creative Director | Magic Feather Inc.
1) I was at SuperTCP in the upper south hall. Across from this booth was KeyFlow Pro. I was in the Super TCP booth for 20 minutes.
There was not ONE person in the KeyFlow Pro booth. Very sad.
2) I went to dinner with my wife at STK the Friday before NAB. My wife started talking to two women at the bar who were going to NAB, with some camera company. They became Facebook friends. I went to this girls Facebook page, who was featuring the Lytro camera (the company they were with). "Who the hell is Lytro" I said to myself. Shows you how much I know. Talk about missed opportunity !
Rescue 1, Inc.
Bob, nice story to tell the great-grandkids when Lytro becomes the 21st century equivalent of the 20th century Kodak Brownie.
iMac 27” 5K Retina 4GHz 32GB/4GB, URSA Mini 4.6K PL, Pegasus2 R6 24TB
[John Davidson] " I don't think the world really gets what this application is capable of…"
I didn't really either for the first couple of versions... and I owned it! :D
[John Davidson] "… but I think the next few updates are going to blow minds."
The last update most certainly gave it a HUGE boost for me, especially after a gut feeling that not too much might even happen anymore, since it seemed to go under and no one was taking much notice. But even at this point I still feel that a bunch of coders with only very basic knowledge and understanding of what and how X does things (i.e. is used in production) put it together (my tag vs. keyword thing as case in point), which need to be addressed. But it's still essentially a v1 and the last update has made me very hopeful as I said, and I'm very excited to see what happens next. I'm also trying to do my best to be active about those changes via email with them. We'll see... !
Still waiting for that clip of the demo btw! ;-))
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Tim, I finally purchased a Blackmagic URSA Mini 4.6K PL mount camera about a week before NAB 2016 so it was a relief to see there was no new 'disruptive' camera from BMD! I very much appreciated the announcement of firmware update 4.0 due in June and that honestly is such a wonderful update that it makes the URSA Mini a new camera in terms of ease of use and flexibility.
But I don't own any PL mount lenses yet (50mm APO ordered), so another lasting takeaway was SLR Magic demoing their new 25mm and 85mm 'budget' APO primes that will likely be available in September this year: they also announced a 32mm APO as well as hinted there will be an 18mm and 135mm after that. And one of the nicest touches is their very simple EF replacement mount for the PL primes. You simply unscrew the last part of the PL mount and screw on the EF mount (or other popular mounts) like you're changing the lid on a glass jar. I mean that literally, no screws and screwdrivers involved.
I also bought the just released cheap BMD B4 1.1x optical mount for the URSA Mini PL cameras and a used Fujinon HA20x7.8B-M10 all manual compact Cine zoom (not ENG) lens which appears to be a beauty.
Very happy to see the focus on improving the utility of existing products for the first time in a long time compared to the prior emphasis on distracting 'disruptive' shiny things.
Edit: Oops, need to update my equipment listed below! Now using iMac 5K Retina 4.0GHz 32GB/4GB.
iMac 27” 2.8GHz i7 16GB
I posted this before in the NAB thread but it seems more appropriate here so I'm taking the liberty of re-posting.
Just back from a quick jaunt to NAB. Not an earth shattering NAb, more incremental improvements.
Avid had the upper south hall to themselves as far as NLEs go and their booth was packed - can't tell you why because i'm not interested, but if crowd size at NAB is any indication then this is not a dying business.
Black Magic had the lower hall prime position and plenty of action - the Ursa Mini 4K knocks me out for the money, with the caveat that I'm not a shooter. But as a fully robust studio camera for under 5K without glass, someones gonna have to explain to me why it sucks otherwise it will be in consideration for next years shoot. Also amazing how small the Micro Studio camera is - perfect for my ceiling mounted remote cam.
Tons of copter's in the Central Hall buzzing around - obviously a growing field.
Adobe has some nice incremental improvements plus Virtual Reality editing - which I still believe is a "who cares" option. Very crowded booth, pushing a lot of Adobe Anywhere demos and Feature Film workflow demos emphasizing AE dynamic link with Ppro. Best demo was 2 kids from Austalia home brewing some fantasy you tube videos and turning it into a tv show. Very funny stuff, made for no money, 2 kids showing what can be done with a handful of actors, no money, a lot of talent and AE.
If you need a multiCamera live viewing option - The Decimator on the South Upper floor has some excellent options for 9 angles, or less, fully programmable, each input with a looping output, on one screen for less than 1K.
Saw a neat AE 3D tracking plug-in for those too stupid for something like Mocha (meaning me) - it's called FayIn by Faytek. Worth a look for an editor who doesn't have time to learn something too complex.
Didn't try any of the VR glasses, the lines were too long at the Dell site, but they were offering free popcorn, so well worth the visit.
Saw a bunch of High Dynamic Range video, with a Korean company showing it in 8K. They had a shot of a rotating glass sculpture on black that seemed like you could reach out and touch it. Even the HD versions were impressive, but since there are no agreed upon standards for TV manufacturers and no broadcasters ready to, you know, broadcast, this is still just a pipe dream - but a beautiful pipe dream that is more impressive than 8K TV or 3D if you could ever get agreement on standards. In the meantime my wife is happy watching super compressed 8 bit on Netflix as long as she can see another episode of The Gilmore Girls.
Met up with the world renown Bob Zellin at the Maxx Digital booth - he was extolling the virtues of simple video networking using the QNAP Thunderbolt NAS as the center of it's design, and complaining about the many booths talking about Thunderbolt 3 when nobody had it to show.
Spent some time at the ProMaxx booth to review it's "platform" - a complete software/hardware product taking you from ingest to asset management to team editing to archiving with the ability to open in a panel in Ppro (and Avid I think) and be totally controlled from there. It has tools to lock projects to prevent overwriting while editing in teams and it was impressive.
Anyhow after a day my feet hurt too much to make it to the north hall or look any deeper at the camera's in the central hall - huge booths for Canon, Panasonic and Sony, with Red exhibiting next to Black Magic in the lower south hall.
I would estimate that 95% of the attendees were male with the highest number of female attendee's gathered around the various camera booths in both the South and Central halls. Take that for what it's worth.
nothin' attached to nothin'
"Deciding the spine is the process of editing" F. Bieberkopf
What was notable to me was the Ross Acid box camera. It is a modified Hitachi DH-H200. It does 4:4:4 output with 64 db SN. I'm not aware of another studio camera that can pull this trick. It will be used in new virtual set environment, so quality of keys is key. We had considered Sony HSC-300, but this Acid camera paired with Ross's chroma keyer that understands the two signals coming in to create 4:4:4.
Interesting. After reading your post, Tim, and scanning through the thread, I see a lot of people mention "storage", but I saw no one write about Symply Storage.
Being in the market segment that I'm in, using big stornext file systems for shared post environments, I know of peers who were leery of seeing what these guys were announcing because of history. I didn't have a good reaction to the tease of the new company either, to be perfectly honest.
I have to say, after seeing what they announced I was pleasantly surprised. It's not a product for me or the facility I run, but it is basically an easy to set up, miniaturized version of what I run. This was never a possibility before. And the beauty of it is that is just an easy thunderbolt connection to the clients.
The coolest part to me is that I think they can develop a nice little ecosystem on the box (the base unit) for cool ad ons. These ad ons will help the little studio do business in a way that has never really been possible or affordable for them before.
We saw a company last year that had a small thunderbolt san. This Symply thing is different, and pretty well thought out.
I'm anxious to see how they do.
There were other things, but I'd bore this group with those details.
Is that the same space Lumaforge is positioning the Jellyfish to work in?
Cuz that seems like an AMAZING option to enable a modern FCP X small shop workflow.
Appears to be both blazingly fast and wildly affordable for the level of performance people are talking about.
Now that their tech has been vetted by the persnickety engineers for massive european broadcasters, it should work dependably well for a creative boutique or agency seeking out bang for the buck.
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[Keith Koby] "There were other things, but I'd bore this group with those details."
I'm begging you, please bore us. LOL
I love hearing people's impressions of the usual suspects, who are the usual suspects for good reasons....but I'm also always looking for the UN-usual suspects.
For example, like Bill, I'm impressed with Lumaforge's Jellyfish (which btw works with ANY NLE, not just X, and is pretty compelling for most small shops from where I sit)...but I hadn't heard of Symply at all.
The thing is, a meadowful of people come to the COW for storage info. Our storage forums are among our most viewed, if not our chattiest. This being a chattier forum, I want to encourage the widest possible range of insights. Nobody could see everything, except maybe the all-seeing Zelin. LOL
Thanks for what you've given us so far -- and thanks to everyone else! I'm loving this thread!!! -- but no kidding, please sir, may I have some more?
There's this, too: http://www.g-technology.com/products/grack-12 … in case no one has heard of it either. Though no pricing yet unfortunately, so that may actually make it not-so-interesting in the end after all.
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The Red Raven actually turned my head toward Red for the first time. Let's see if they deliver this Fall.
Mole lights actually are starting to look sexy.
The Yuneek Drone flew better to me than either the DJI or the 3DR. The Yaw on the Yuneek was just buttery and lots of control, rather than the herky jerky control on the others.
Edelkrone had some nifty innovations. Watch those guys because they are way more than sliders.
Actually talked to a gal from the LTO consortium. They had a booth. Not much info but they were there....I am finally interested in LTO with over 100 hard drives and the new LTO 7 to take all those drives to tape!
Finally had breakfast at Hash House a Go Go (and the Peppermill as always) and it was great. (drove out to the one out on the far west side, not the one on the strip).
JBL had a new speaker system that blew me away with their efficiency and accuracy. They played it loud and that I like!
The Christy Projection demo of HDR was dumb. They never even mentioned that the sound was through their own speakers. Other than the whole theater going pitch black (due to the low HDR blacks) they projected everything in 1080 even though it was a 4k projector.
The Canon 8K projection was glorious as well as that HUGE 8k wall.
Did GoPro have a big raucous booth? I didn't even notice.
Had a blast....
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
boy, you guys are itchy ! I will try to get a writeup this weekend.
But yes, the LumaForge Jellyfish is wonderful, and the G-Tech GRACK12 is amazing - but how amazing for FCP-X, compared to the Jellyfish - I still can't answer this, because I have not tried it with FCP-X (I just figured out how to get NFS to work on the GRACK12).
Rescue 1, Inc.