Developed in conjunction with leading colourists and a top design house, Digital Vision’s Precision panel provides future proof technology with a modern design edge. As well as the Precision panel, Digital Vision is also previewing elements of its latest cutting-edge software release – 2011 - with improved dailies features and additional stereoscopic tools designed specifically for live action productions. 

Martin Bennett, Vice president of Worldwide Marketing, Digital Vision says, “It’s important that colourists have  an integrated control panel that not only has a fully equipped feature set that provides easy navigation for improved speed of operation, but also has a stylish look and feel that a premium grading suite deserves. The Precision panel combines new touch screen operation with more traditional controller elements that take advantage of Digital Vision’s latest innovative toolsets and features that will enhance the grading experience. This coupled with our continuing software developments as previewed in the forthcoming 2011 release takes colourists to a new level of grading.”  

The Precision panel, which is slated to ship in Q4, delivers unrivalled features including:

• Prestige design with modern, slim ergonomic look and feel
• Best in class 3-axis trackballs and touch keys providing greater control and quicker navigation
• Modular design for custom configuration and layout
• Future-proof design with high-res colour screens and combined touch screen and tablet

Following Digital Vision’s highly successful launch of its 2010 software, the company has also taken the opportunity to preview elements of its new release – 2011 - at IBC 2010. This latest version will provide a host of new features when it ships in Q4. At IBC leading colourists will preview the software’s new dailies functionality including customisable burn-ins, optimised Quicktime support with additional codecs, and increased command line features for automating the process. The demonstration will also include an extended stereoscopic toolset with new tools for image enhancement, mastering and finishing stereoscopic live action productions. The toolset has been extended to cover the whole stereoscopic post production workflow for both broadcast and digital cinema with automation features to improve the creative process. 

Visit Digital Vision on stand 7.A28 and see why its award-winning products are a standard of the media and entertainment industry and are deployed at top facilities around the world.

###

About Digital Vision
Digital Vision provides innovative image restoration, enhancement, color correction and data conforming systems that major movie studios, television networks and post-production facilities use to master and deliver feature films, TV programs and commercials.  The company’s Nucoda product line provides a strong suite of products for tapeless and non linear grading for HD broadcast and 2k/4k digital intermediate productions.  The company’s award-winning products are a standard of the media and entertainment industry and are deployed at top facilities and broadcasters around the world.

 
Digital Vision AB was founded in 1988 and is headquartered in Stockholm, Sweden, with three wholly owned subsidiaries, Digital Vision (US) in Los Angeles, California; Digital Vision UK in London, England; and Digital Vision in Hong Kong, China.  The company maintains its global presence through a network of qualified distributors.  Digital Vision is listed on the Stockholm stock exchange.  For further information, go to www.digitalvision.tv.

All trademarks used herein, whether recognized or not, are the properties of their respective companies.

Digital Vision EMEA & Asia Marketing Contact:
Ulrika Liiv
Email: Ulrika.Liiv@digitalvision.se
Tel: +46 (0)8 546 182 00

Digital Vision USA Marketing Contact: 
Alexa Chollet     
Email: Alexa.Chollet@digitalvision.se   
Tel: +1 (818) 769-8111   

Digital Vision EMEA & Asia PR Contact:
Kate Ford
Jump PR
Email: kate@jumppr.tv
Tel: +44 (0)1932 253624
Mobile: +44 (0)7740 948065

Digital Vision USA PR Contact:  
Christine Purse     
Ignite      
Email: chris@ignite.bz     
Tel: +1 818 508 0450   
Mobile: +1 323806 9696    

Martin Bennett, VP Worldwide Marketing explains, “We‘ve always been highly regarded for our image science and premium solutions and with this new product range we continue that high standard. Customers at all levels can benefit from our technology with an array of solutions and price points that address specific tasks. Add to this our continued commitment to develop and include industry-leading tools for stereoscopic 3D workflow and image enhancement. In short we are enabling our customers to deliver the highest quality content to clients at a price to suit all budgets.” 

Nucoda, the leading grading and finishing Nucoda platform now has a new pricing structure and two new solutions. The premium flagship Nucoda Film Master solution, as used by leading content creators including Pixar, has an entry price of €62K. To address the mid-range DI grading and dailies market, Digital Vision has released Nucoda Fuse with a retail price of €37k. Nucoda Fuse provides a comprehensive toolset for film, video and digital projects creating unique looks and visual styles in SD/HD, 2k/4k and stereoscopic 3D.  At the entry-level, Digital Vision has introduced Nucoda Compose, a multi-faceted workstation for commercials, film and television post, which can also be used as a preparation station for Nucoda Film Master or Nucoda HD. Nucoda Compose has a retail price of €8k. 

Digital Vision‘s continued commitment to the film/image content restoration sector, has seen the release of a totally new product range. Phoenix Finish is the flagship end-to-end restoration, re-mastering and delivery system, the mid-range solution Phoenix Refine, provides a complete toolset for advanced image restoration and enhancement, and the entry-level Phoenix Touch enables automated and manual image clean up and retouch. 

At IBC 2010 leading colourists will demonstrate the 2010 software’s feature-rich toolset and extensive capabilities including additional stereo 3D tools and viewing modes, a new colour isolation keyer (I-Keyer) and updated file format enhancements including Arri Alexa support, MFX OP1a publishing and ALE file export. 

As part of the 2010 software release, Digital Vision has included applications to increase the performance of these new products. The first, Turbine, introduces integrated and distributed background rendering for Phoenix and Nucoda solutions allowing rendering of multiple projects and compositions without tying up the client’s workstation. DVO Clarity, the next-generation of noise and grain reduction technology features automatic profiling of the source media for producing stunning images, virtually artifact free that retain original sharpness, whilst the speed and ergonomically enhanced DVO Fix automatically repairs imperfections associated with degraded film and image media.  

Bennett concludes, “Our products have always been competitive and these new lines address the way in which the market has transformed over the last couple of years. It has always been our intention to deliver mid-level and entry-level systems because we know this is a requirement for some of our customers and it also allows us to continue to develop our business in new markets. When you buy into the Digital Vision philosophy you’re not just buying a system, you are buying into a hugely successful history and first-class support. We believe in taking our customers on a journey that continues and develops over many years; we don’t just sell systems and shut the door.” 

###

 About Digital Vision
Digital Vision provides innovative image restoration, enhancement, color correction and data conforming systems that major movie studios, television networks and post-production facilities use to master and deliver feature films, TV programs and commercials.  The company’s Nucoda product line provides a strong suite of products for tapeless and non linear grading for HD broadcast and 2k/4k digital intermediate productions.  The company’s award-winning products are a standard of the media and entertainment industry and are deployed at top facilities and broadcasters around the world.

 
Digital Vision AB was founded in 1988 and is headquartered in Stockholm, Sweden, with three wholly owned subsidiaries, Digital Vision (US) in Los Angeles, California; Digital Vision UK in London, England; and Digital Vision in Hong Kong, China.  The company maintains its global presence through a network of qualified distributors.  Digital Vision is listed on the Stockholm stock exchange.  For further information, go to www.digitalvision.tv.

All trademarks used herein, whether recognized or not, are the properties of their respective companies.

Digital Vision EMEA & Asia Marketing Contact:
Ulrika Liiv
Email: Ulrika.Liiv@digitalvision.se
Tel: +46 (0)8 546 182 00

Digital Vision USA Marketing Contact: 
Alexa Chollet     
Email: Alexa.Chollet@digitalvision.se   
Tel: +1 (818) 769-8111   

Digital Vision EMEA & Asia PR Contact:
Kate Ford
Jump PR
Email: kate@jumppr.tv
Tel: +44 (0)1932 253624
Mobile: +44 (0)7740 948065

Digital Vision USA PR Contact:  
Christine Purse     
Ignite      
Email: chris@ignite.bz     
Tel: +1 818 508 0450   
Mobile: +1 323806 9696   

To reserve a demonstration time at one of our demo stations, please email us at marketing@digitalvision.se

Nucoda platform: To compliment its premium flagship Nucoda Film Master solution - as used by leading content creators including Pixar and Lucasfilm - Digital Vision is now shipping Nucoda Fuse and Nucoda Compose. A grading and finishing solution that sets the bar for functionality and performance Nucoda Fuse is based on the company’s leading image science technology and Nucoda colour tools. Nucoda Compose, an entry-level solution, provides a cost-effective, multi-faceted workstation to aid in the grading, finishing and mastering workflow for commercials, film and television post production. All grading solutions are equipped with a 3D toolset.

Phoenix platform: To address the restoration market Digital Vision has introduced Phoenix Finish, its new flagship end-to-end restoration, re-mastering and delivery system. This focuses on creating the highest quality deliverables from film or tape-based materials. The new mid-range solution - Phoenix Refine - delivers the best in high-end restoration image processing tools to repair any defect or damage to film and video media. The new entry-level Phoenix Touch, which utilises DVO technology, is a cost-effective image restoration software solution for cleaning up VFX plates and DI scans, or can be used as part of large volume restoration projects requiring manual retouch of content.

2010 software release: Digital Vision has included applications to increase the performance of these new products. The first, Turbine, introduces integrated and distributed background rendering for Phoenix and Nucoda solutions allowing rendering of multiple projects and compositions without tying up the client’s workstation. DVO Clarity, the next-generation of noise and grain reduction technology features automatic profiling of the source media for producing stunning images, virtually artifact free that retain original sharpness, whilst the speed and ergonomically enhanced DVO Fix automatically repairs imperfections associated with degraded film and image media. 

The 2010 software release also includes additional stereo 3D tools and viewing modes, a new colour isolation keyer (I-Keyer) and updated file format enhancements including Arri Alexa support, MFX OP1a publishing and ALE file export.

Martin Bennett, VP Marketing, Digital Vision says, “We are delighted to announce shipment of these new products, which are key to the Digital Vision foundation and philosophy. We have worked closely with our customers to develop tools and features that not only improve speed and creativity but also meet the varying needs of facilities regardless of size and budget. IBC 2010 will be a very exciting show that will allow visitors to try out these systems first hand.”

Visit Digital Vision at IBC 2010 on stand 7.A28.

Digital Vision EMEA & Asia Marketing Contact:
Ulrika Liiv
Email: Ulrika.Liiv@digitalvision.se
Tel: +46 (0)8 546 182 00

Digital Vision USA Marketing Contact: 
Alexa Chollet     
Email: Alexa.Chollet@digitalvision.se   
Tel: +1 (818) 769-8111   

Digital Vision EMEA & Asia PR Contact:
Kate Ford
Jump PR
Email: kate@jumppr.tv
Tel: +44 (0)1932 253624
Mobile: +44 (0)7740 948065

Digital Vision USA PR Contact:  
Christine Purse     
Ignite      
Email: chris@ignite.bz     
Tel: +1 818 508 0450   
Mobile: +1 323806 9696    

RingSide Creative in Oak Park, MI has built its reputation by integrating with leading agencies and production companies to deliver unbelievable visual experiences for broadcast, web and print that pack a major punch.

Rick Unger, a Senior Colorist at RingSide, describes working on two recent campaigns for Leo Burnett Chicago and Team Detroit. Both are visually stunning and great examples of seamless production.

The Leo Burnett project represented the first in a new series of Buick brand spots that were to be cut at Beast Detroit. Shot with 35mm film in a number of street locations in Chicago, the shoot – led by Form and Directed by Alexander Paul – featured a variety of demanding visual paces involving the sleek, silver Buick LaCrosse and Buick Enclave vehicles against a variety of moving backgrounds and lighting situations.

Given this reality, Unger relied upon the Nucoda Film Master to give him the creative and technical muscle they would need to cut mattes for isolating color grading on the silver cars and, ultimately, separate the sheet metal from the background. 

“I don’t know of any other toolset that could perform the way that the Film Master did,” said Unger.  “We were able to cut perfect mattes, import additional mattes cut in the Flame and Smoke, manipulate the color, background, light and sheen of the cars and achieve a very distinctive liquid metal look that the creative’s were going for.”

For Team Detroit, Unger worked on Lincoln MKS spots featuring David Wright of the New York Mets. As pioneers of the multi-format post production process, RingSide was well prepared to combine high speed Phantom (440 fps), RED 4K and 35mm film shot by Avalon Films and Director Larry August.

“These spots were a blast to work on,” said Unger. “We know film is beautiful, and the Phantom creates absolutely amazing images. We were also very impressed with the RED Raw footage, which was gorgeous.

All the footage was loaded on our server, the EDL came in from editorial, and we were able to blend images from three completely different sources in the Film Master. It was seamless.”

RingSide Creative embraced the challenge to hit significant and demanding visual marks and in both cases, Film Master proved its value. 

“Film Master has been instrumental in helping us achieve our clients’ goals,” said Unger.  “The power of the color grading tools are outstanding, and there are a number of important pieces to the puzzle, like its visual effects capabilities that help us do our best work.”

###

Films@59 Colourist Tony Osborne who carried out the grade knew from very early discussions with the series producer Rhonda Smith and DoP Alan Almond that they required a very different look and feel from the first two series, which had a glossy, glamorous sensibility and softer storylines. They also wanted to move away from film and go digital and so opted for the RED digital camera system. 

Osborne explains, “The idea was to achieve a look that was darker and richer but without too much contrast and one that would not be overly saturated. From the start of the project Alan said that he didn’t want the American look that you get with some dramas, which have vibrant brash colours. He wanted a natural look - that was the premise throughout filming.” 

Osborne used Nucoda Film Master for three stages of the post production process. The first-stage was to carry out the data conform from the RED RAW files processing out to LOG files. He says, “This gives us the best starting point for grading as the OpenEXR format, which is built into the Nucoda Film Master, retains greater detail in the shadows and the highlights than other systems. The floating point, which OpenEXR facilitates, means that the grade is not disrupted. The second-stage was the grade itself and during the third-stage Osborne used elements of Nucoda Film Master’s DVO toolset to reduce shimmer and grain.

The series, which opens in the present with a prologue, conjures up a feeling of tension and unease. Osborne explains, “There are unresolved issues and the viewer doesn’t yet know what they are so it had to draw the audience in immediately. The DoP, producer and director wanted to give that first scene a look completely different to the rest of the series. The story lines are dark and it was important that this was reflected in the grade.” Throughout the rest of the grade Osborne was sensitive to maintain the colour theme relating to the four main female characters and their environments. 

Martin Bennett, VP Worldwide Marketing, Digital Vision comments, “Tony has achieved a very unique look for this project using Nucoda Film Master. The grade significantly adds to the drama in the production reflecting the change in storyline from the first two series. Also the use of OpenEXR, which is integrated into all Nucoda systems and has been adopted by other facilities and studios including Pixar and Lucasfilm in the US and Animal Logic in Australia, ensures that the creative vision is preserved and delivered in a manner that has never before been possible.” 

###

About Digital Vision
Digital Vision provides innovative image restoration, enhancement, color correction and data conforming systems that major movie studios, television networks and post-production facilities use to master and deliver feature films, TV programs and commercials.  The company’s Nucoda product line provides a strong suite of products for tapeless and non linear grading for HD broadcast and 2k/4k digital intermediate productions.  The company’s award-winning products are a standard of the media and entertainment industry and are deployed at top facilities and broadcasters around the world.

 
Digital Vision AB was founded in 1988 and is headquartered in Stockholm, Sweden, with three wholly owned subsidiaries, Digital Vision (US) in Los Angeles, California; Digital Vision UK in London, England; and Digital Vision in Hong Kong, China.  The company maintains its global presence through a network of qualified distributors.  Digital Vision is listed on the Stockholm stock exchange.  For further information, go to www.digitalvision.tv. 
 
All trademarks used herein, whether recognized or not, are the properties of their respective companies.

Digital Vision EMEA & Asia Marketing Contact:
Ulrika Liiv
Email: Ulrika.Liiv@digitalvision.se
Tel: +46 (0)8 546 182 00

Digital Vision EMEA & Asia PR Contact:
Kate Ford
Jump PR
Email: kate@jumppr.tv
Tel: +44 (0)1932 253624
Mobile: +44 (0)7740 948065

With a feature set comparable to Digital Vision’s flagship product Nucoda Film Master along with the new price point, Nucoda Fuse offers you the ability to increase your services and manage the entire digital intermediate workflows in house.

Be the first in the US see the 2010 software’s feature-rich toolset that includes additional stereo 3D tools and viewing modes, a new color isolation keyer (I-Keyer) and updated file format enhancements including Arri Alexa support, MFX OP1a publishing and ALE file export.

Join us for an interactive session with our product experts - see why Digital Vision toolsets and systems were chosen for hits like Toy Story 3 and the upcoming The Chronicles of Narnia: The Voyage of the Dawn Treader. We will also present our full integration with Avid codecs and solutions, and show how you can close the gap between dailies, editorial and finishing.

4 free sessions available throughout the day, Wednesday 18th, at 10:00 am, 1:00 pm, 3:00 pm, and 6:00 pm. Join us at our evening session for complimentary cocktails and light appetizers.

Location: Key Code Media, 1004 Santa Monica Blvd., Santa Monica, CA 90401.

Advanced registration is required; please email marketing@digitalvision.se or register directly.

For more than 15 years, Close Up Global has distributed Russian films to the international marketplace.  About a year and a half ago, Mikhail Sheydin and his team were considering moving restoration of their classic films in-house but needed to make sure they were investing in the correct technology.

“We had done a lot of research,” Sheydin remembered.  “During last year’s NAB, we saw a lot of companies, and looked at many products that aid in restoration, including MTI and DaVinci.  We chose Digital Vision’s Nucoda platform with DVO software tools.  A year and a half later, we feel strongly that we made the right decision. “

Their first project was “Cinderella,” a sixty-year-old black and white classic Russian film. It was headed to colorization by Legend Films in San Diego, but was severely damaged.  It was scratched, dirty, and missing frames. Before it could be colorized, frame by frame restoration was required.

Elimination of Scratches
The project has been a critical and technical success, and Close Up Global will be using the DVO toolset to restore other titles. 

Sheydin added, “The interface is flawless.  We’ve been able to economically and efficiently integrate it into a flexible environment.  We don’t have a big staff, and the ease of learning the DVO has been extremely important to our operation.  We can add new people to our workflow, very quickly, with only a single supervisor. ” 

Sheydin has also been impressed with Digital Vision’s service.  “We are very happy with the Digital Vision team.  We’ve received more than just restoration tools - we have gotten great attention and support.  As a company new to the technology, we needed to have that extra help, and Digital Vision has consistently been there for us.”

##

Close Up Global is located in 10,000 feet of the Brooklyn Army Terminal.  Close Up Global works with major international players, including Mosfilm, the biggest motion picture studio in Europe. www.kinocolor.com

 Larry Chernoff, CEO of MTI Film, noted, “The Film Master is a powerful tool that has been successfully at work in our Sycamore facility.  MTI chose Nucoda because we believe that we have a partner in Digital Vision.  We are a progressive company innovating in the television post- production and film restoration spaces, and we’ve sought out like-minded companies.  We are focused on technological advancements in digital workflows for the post community, and see Digital Vision as a partner in the process.  It is also their willingness to come to the table, not just when our requests were easy to answer, but when our goals push the boundaries.  Throughout the process, Digital Vision has remained creative and enthusiastic in their support as we set off on new areas of development.”

 Bruno Munger, Product Manager of Digital Vision concluded, “MTI Film has been working towards an innovative, long-range plan that responds to the changes in acquisition and post production throughout the industry at large.  It is a pleasure to work with Larry Chernoff and the MTI team as they forge a workflow that incorporates this forward thinking approach.  We are proud to have the Nucoda product line in place at this groundbreaking facility and look forward to a dynamic collaboration with MTI Film” 

 About Digital Vision
Digital Vision provides innovative image restoration, enhancement, color correction and data conforming systems that major movie studios, television networks and post-production facilities use to master and deliver feature films, TV programs and commercials.  The company’s Nucoda product line provides a strong suite of products for tapeless and non linear grading for HD broadcast and 2k/4k digital intermediate productions.  The company’s award-winning products are a standard of the media and entertainment industry and are deployed at top facilities and broadcasters around the world.

 Digital Vision AB was founded in 1988 and is headquartered in Stockholm, Sweden, with three wholly owned subsidiaries, Digital Vision (US) in Los Angeles, California; Digital Vision UK in London, England; and Digital Vision in Hong Kong, China.  The company maintains its global presence through a network of qualified distributors.  Digital Vision is listed on the Stockholm stock exchange.  For further information, go to www.digitalvision.tv.
 
All trademarks used herein, whether recognized or not, are the properties of their respective companies.

 About MTI Film

Since 1997 MTI Film has offered award winning software applications to the post-production industry for film and video image correction and dailies facilitation. MTI's applications support collaborative digital workflows, which scale to significantly increase throughput. MTI Film products include Correct DRS v9, Control Dailies v7, Control Dailies DA, Control Color and Convey v2.

For information about MTI Film, their products and the new facility, visit www.mtifilm.com.

Digital Vision Contact:
Alexa Chollet
Email:  alexa.chollet@digitalvision.se
Tel:      +1 818.769.8111

USA PR Contact
Ignite
Christine Purse
Email: chris@ignite.bz
Tel:      +1 818 508 0450