Major new EDIUS upgrade. Exciting new features and even more formats supported.
EDIUS 6 now gives users the ability to work with any video standard up to 1080p50/60 or 4K digital cinema resolution. Also, all major codecs in use in the industry are supported natively, with no transcoding required even when different compression formats are mixed on the timeline.
The EDIUS system's renowned, mixed format and file wrapper/codec agnostic timeline has been enhanced in EDIUS 6 to include 1080p50/60, 10-bit support, with up to 4K resolution, and features the fastest native AVCHD editing in the industry. This includes the ability to edit video content captured with digital SLR cameras such as the Canon EOS. The recently introduced Canon XF (MPEG2 4:2:2) format is also supported.
For prosumers, EDIUS 6 includes a proprietary AVCHD editing engine enabling real time, multi-stream editing of AVCHD compressed video without the need for any additional hardware. Full screen, VGA preview, including multi-cam selection, is also provided.
EDIUS 6 also extends its editing functionality towards post-production applications. Multicam editing is now expanded to16 cameras, with a choice of several multi-viewer screen layouts. EDIUS 6 also boasts video masking, and combined with the new track matte keyer can enable easy key & fill operation on the timeline. Add to this keyframable, free shape, vector-based masking, and improved After Effects plug-in support, and EDIUS 6 is built to satisfy the requirements of even the most advanced editors.
DVD and Blu-ray authoring from the timeline now includes motion menus for even more professional results.
EDIUS is well known for its superb proxy workflow. With EDIUS 6, Grass Valley has taken its proxy handling to new levels to deliver an even a more efficient, end-to-end digital workflow. Now users have the ability to use proxy clips from footage acquired via SDI. Editors can mix and match any camcorder proxy with any EDIUS proxy at any time during the edit, which gives the user the most flexible and unique way of working with proxy files and high-resolution pictures.
EDIUS Now available for Mac (Using Apple Boot Camp - Free utility)
EDIUS 6.5 - available June 2012
The new EDIUS 6.5 software boasts a comprehensive 3D workflow, complete with 3D stereoscopic editing tools and new 3D support across its editing peripherals. The full family of 3D-compatible Grass Valley editing peripheralsÃƒÂ¢Ã¢â€šÂ¬Ã¢â‚¬Âsuch as the STORM 3G 3D and STORM 3G Elite 3D accelerator cards (with stereoscopic 3D I/O through a single 3G SDI source and/or dual 3G SDI signals)ÃƒÂ¢Ã¢â€šÂ¬Ã¢â‚¬Âare now all supported from the EDIUS timeline. EDIUS software and hardware supports all of the most common stereoscopic modesÃƒÂ¢Ã¢â€šÂ¬Ã¢â‚¬Âincluding the Side-by-Side, Top & Bottom and Line-by-Line display methods.
EDIUS 6.5 also incorporates a new Flash exporter, many improvements to the Layouter tool, native image stabilization, built-in Loudness Meter and closed caption/audio bit stream (Dolby-E, AC-3) pass-through support.
A special systemized EDIUS version, based on EDIUS 6.5, will take full advantage of the proxy files created and stored on the Grass Valley K2 Summit 3G server, enabling users to develop even tighter integration with the Grass Valley STRATUS media workflow application framework.
With a simple software upgrade, every Grass Valley K2 Summit production client and K2 Solo HD/SD server can now be used as a 3D production server for 3D recording or replay, a 2X or 3X Super Slo-Mo recording device, or as a server for recording from 2-6 simultaneous camera angles with at least one channel for playback. The systemized EDIUS version will allow users to directly access the K2 contents and edit it while recording, and also directly output back to K2 for playback.
AdVision TV: Editing... Live!
Glastonbury - it's on TV. Premier League Football? On TV. Not subscribing to the right satellite channel? Worried about missing a big event? Try Googling it, try YouTube.
You would have thought that live events would struggle to survive in the face of this wall of media coverage. But rock concerts, sports matches, conferences and venues across the country are reporting record audiences. Birmingham NEC's ticketing office has trebled its sales in the last three years, London's 02 arena was named most popular music venue in the world for the fourth consecutive year while music festivals across the country have seen their tickets snapped up in hours.
Live events are successfully prising us out of our comfy armchairs and off our sticky barstools by enhancing the live audiences' experience. They engage with their audience through Facebook, Twitter and Myspace while at the event itself, the emphasis is on total entertainment. Modern stadia and today's festival grounds are crammed with big screens and hundreds of LCD panels giving 360 degree information and entertainment. New venues such as Cardiff's Millenium Stadium boasts 400+ HD screens and two 90 square metre LEDs.
The challenge for our industry is how to feed these screens to keep the voracious audiences happy? Behind the scene are OB companies and AV teams ever-ready to provide instant TV facilities on behalf of the event organisers. They give the audiences a richer experience and allow the events to be broadcast and distributed worldwide.
However, today's audiences are media savvy and highly demanding. So live feeds controlled by a Grass Valley Indigo vision mixer is often not enough. Nowadays producers are not only tasked with producing live programming, but creating highlights packages for immediate playback to the fans. Matthew Titterton of OB company AdVision TV paints the picture:
"How many times have you missed a key moment or a crucial goal at a live event? It is our job to make sure that the audience doesn't miss any of the action. So we produce not just a live feed of the event but also provide edited highlights during the event. Managing a multi-cam HD production is always a challenge in itself. But it takes a whole new set of skills to record, edit and playout a fantastic-looking highlights package that captures the excitement of the occasion."
AdVision's use Grass Valley's EDIUS for fast-turn around editing. Titterton explains the reasons behind the choice of software:
"Fundamentally, EDIUS is robust, reliable and solid - it just doesn't fall over. Having confidence in your kit under the most testing conditions is vital. Whatever we throw at EDIUS, it copes. And believe me, the timeline can get filled with all manner of formats - XDCAM HD, Digi-beta, QuickTime, WMV, DV, AVCHD... When you're working to tight deadlines, glitchy software could be a killer."
For AdVision, one of the key advanced features of EdIUS is its support for multi-cam editing. Richard Payne, product specialist at Edius' distributor Holdan, explains: "Multi-cam mode is really intuitive and efficient and it now works with up to 16 cameras. The real-time multi-camera playback abilities can save hours of editing time."
For AdVision this is an essential feature allowing them to work quickly and accurately to hit their deadline - a deadline that may literally be minutes away.
Matthew Titterton comments: "We use a variety of cameras depending on the requirement of the client - we can be shooting with Sony, Ikegami, Panasonic or other cameras. The age old problem is that they record to different formats, adding complication to the post production work. If we have to edit and playout a highlights package, we just don't have time to transcode the content into an intermediate format as you have to with some editing systems. EDIUS can edit just about everything natively, with no need for time-consuming transcoding, even in multi-cam mode. So EDIUS allows us to get on with editing in real-time whether we are editing a single or multiple camera feeds."
Richard Payne says: "Editing on something like an industry-standard HP Z800 workstation, EDIUS could reliably edit as many as 10 HD tracks with mixed formats in realtime so it's an ideal solution for fast-turn-around broadcast environments."
In this industry reputation is everything and AdVision only employs tried and tested equipment. "In broadcast you have to deliver every time. Whether we're covering a political debate for the BBC, doing the OB for a Royal Event or Awards Ceremony, or providing screen feeds for Wembley Stadium, reliability has to be the watch word." Concludes Titterton.