Intertrust Technologies Corporation has added session-based video watermarking capabilities from Civolution’s NexGuard to its ExpressPlay Digital Rights Management (DRM) service. NexGuard watermarking technology allows copyright holders to identify the source of unauthorized distribution even after a movie leaves the encrypted digital domain of a DRM system. The accountability provided by NexGuard session-based watermarking has already proven effective in reducing the volume of video piracy, and will be a key aspect of content protection as the distribution of streaming video increases globally. ExpressPlay using Marlin DRM is currently the leading video DRM in rapidly growing markets such as China.
For the second year in a row, Aspera has been selected as an Official Supplier for the 66th Berlin International Film Festival, taking place February 11-21. As one of the most important events for the international film industry, Berlinale attracts more than 300,000 attendees from around the world, and showcases some 400 films of every genre, length and format on more than 60 different screens, totaling over 2500 screenings.
Kodak has announced the release of a new, P-200 Film Cleaning System that the company says transforms the traditional film cleaning process. The revolutionary design allows the cleaning solvent to be dispersed on the film surface in a unique way. This economical, compact and digitally controlled system, which uses Kodak HFE 7200 Film Cleaner Solution, makes it ideal for today’s archives and libraries.
Nomad Editing Company has expanded its Facilis storage infrastructure with the installation of a new 64TB TerraBlock 24EX shared storage system in its New York facility.
The Association of Moving Image Archivists has announced a full roster of speakers for the 2015 Digital Asset Symposium, taking place November 18-19 in Portland, Oregon, at the Hilton Portland & Executive Tower. Experts from the Academy of Motion Picture Arts and Sciences, Family Search, Game Metadata and Citation Project, the International Association of the Chiefs of Police, and Stanford University will discuss their approach to handling video, audio, written and physical materials in their respective fields.
The Association of Moving Image Archivists has enlisted keynote speakers Erik Weaver and John Downey for the Digital Asset Symposium, November 18-19 at the Hilton Portland & Executive Tower in Portland, Oregon. This year marks the first time that DAS will run simultaneously with AMIA’s Annual Conference, which takes place November 18-21.
Rich Phillips is chief technology officer for Arts Alliance Media, one of the pioneers of digital cinema. In this, the first article in an ongoing series of articles about the cloud, Phillips and I talk about how the evolving technology is changing the cinema business including distribution and exhibition.
Archimedia has announced the release of Iris 1.0, a suite of applications that overcomes six specific areas where file-based media production and distribution traditionally bog down. “People who are involved with file-based workflow recognize these areas immediately,” says Mark Gray, CEO of Archimedia. “They are places in file-based workflow that are fundamentally different than linear workflow, and where unprecedented challenges slow things down.”
Codex is now delivering the Codex V-RAW Recorder for the Panasonic VariCam 35 camera to customers worldwide. Combining high-performance with ease-of-use, the Codex V-RAW Recorder adds important uncompressed RAW capture to Panasonic’s new camera platform by enabling the recording of 4K RAW at up to 120fps, and continues Codex’s tradition of bringing industry-leading recording and workflow systems successfully to market.
One of the most challenging issues confronting reality television productions involves the processing of camera media. Productions often employ large numbers of cameras of different types resulting in dozens of hours of footage that need to be transcoded before editorial teams can begin their work of whittling it down into scenes, stories and episodes. It’s not uncommon for it to take two days or more to transcode footage from a single shoot day, a costly delay that productions would like to avoid.