New SCS software
altarvic
schrieb am 12.09.2014 um 12:55 Uhr
Kommentare
Dexcon
schrieb am 12.09.2014 um 13:08 Uhr
Very interesting - it looks good. I wonder how it will integrate into VP13.
Pricing, of course, will be important.
Pricing, of course, will be important.
Grazie
schrieb am 12.09.2014 um 13:14 Uhr
Media Manager on Steroids?
Grazie
Grazie
farss
schrieb am 12.09.2014 um 14:07 Uhr
Looks very similar to Assimilate's Play, only $5 and supports almost every camera.
Bob.
Bob.
rmack350
schrieb am 12.09.2014 um 18:18 Uhr
Bob, have you used Scratch Play? Any opinions about it?
Rob
Rob
Tech Diver
schrieb am 12.09.2014 um 18:22 Uhr
It appears to be somewhat similar to Adobe Bridge.
Peter
Peter
videoITguy
schrieb am 12.09.2014 um 18:26 Uhr
As predicted for SCS they are looking to the broader market to see what might work - particularly investing in multi-platform strategy. This is the right thing to do - but remains to be seen where they will price it.
Products like Adobe Bridge are considerably vested, and other products in open-source are relatively free. Then again a good high-end media manager is a definite market to penetrate - Can they do it?
Products like Adobe Bridge are considerably vested, and other products in open-source are relatively free. Then again a good high-end media manager is a definite market to penetrate - Can they do it?
Kimberly
schrieb am 12.09.2014 um 18:26 Uhr
It appears to favor Cloud Based collaboration rather than local machine.
If we are doing transcoding, rough cuts and story boarding in Catalyst Prepare, why do we need Vegas?
regards,
Kimberly
If we are doing transcoding, rough cuts and story boarding in Catalyst Prepare, why do we need Vegas?
regards,
Kimberly
Grazie
schrieb am 12.09.2014 um 18:36 Uhr
Kimbo, I think you're on the money..... hmm.
G
G
Marco.
schrieb am 12.09.2014 um 18:46 Uhr
Catalyst Prepare will be available for 199,95 $.
rmack350
schrieb am 12.09.2014 um 20:22 Uhr
I certainly hope they aren't looking to Bridge as a model. Although I use it daily I really hate the kludgy, eff-up interface. It's a three-legged dog. To use it is to hate it, IMO.
A useful multi-platform tool that is very clearly "not Vegas" would be very good for Vegas in the longer run, assuming it gets users of other NLEs to look at an SCS product. Something "not Vegas" could also maybe bring some new ideas back to Vegas, which might not be a bad thing.
I hate to draw any comparisons to Bridge but the main reason I use that POS is that it can show me the changes I made in Camera Raw and it tells me *IF* I made changes in Camera Raw. It's a key feature that makes me put up with the massive warts in the program. So, if the Catalyst products offer a couple of key killer features and no major frustrations then I'd think it'd be a success.
"Media Managers" are kind of in the eye of the beholder. I get all sorts of answers when I ask people what they think "media management" is. For a product like Catalyst I'd think you'd want it to be a two way street, feeding prepped media to an NLE and also assembling libraries of media used in an NLE's projects.
Rob
A useful multi-platform tool that is very clearly "not Vegas" would be very good for Vegas in the longer run, assuming it gets users of other NLEs to look at an SCS product. Something "not Vegas" could also maybe bring some new ideas back to Vegas, which might not be a bad thing.
I hate to draw any comparisons to Bridge but the main reason I use that POS is that it can show me the changes I made in Camera Raw and it tells me *IF* I made changes in Camera Raw. It's a key feature that makes me put up with the massive warts in the program. So, if the Catalyst products offer a couple of key killer features and no major frustrations then I'd think it'd be a success.
"Media Managers" are kind of in the eye of the beholder. I get all sorts of answers when I ask people what they think "media management" is. For a product like Catalyst I'd think you'd want it to be a two way street, feeding prepped media to an NLE and also assembling libraries of media used in an NLE's projects.
Rob
farss
schrieb am 12.09.2014 um 21:48 Uhr
To answer your previous question, No I haven't tried Play as yet. I've been meaning to but I wanted to wait until I got a Surface Pro to run it one.
[I]"I get all sorts of answers when I ask people what they think "media management" is."[/I]
Sony with their latest cameras have introduced "planning metadata" and I can see how the need for this arises. Take 3 XDCAM cameras to a shoot and one can come home with a lot of files all with the same name.
Unlike tapes or rolls of film there's no way to scribble notes on them. Planning metadata lets one avoid the problem but more is needed, it'd be handy to not only have unique file names for every clip but also some way to know which camera or unit shot it.
Equally useful is being able to have the ability for notes to be added to each clip. Then there's also having the ability to know all the camera setting used to shoot the clip and that's not just the basic lens data, there's also the scene file.
If the production is shooting RAW or Log then there can also be the issue of what View LUTs were used to show the client the footage on the day.
A lot of the above probably isn't of much relevance to me and what I do, I used to think. Now I can see it being useful. Over the years 99% of what I've shot I've felt was pretty much yuck but there's that 1% that had some magic, so one hangs onto those clips but would be really great if the clip could tell me when and where I shot it and how the camera was setup. Would also be nice if I could have added notes into the clip's metadata that I could easily read down the track.
Bob.
[I]"I get all sorts of answers when I ask people what they think "media management" is."[/I]
Sony with their latest cameras have introduced "planning metadata" and I can see how the need for this arises. Take 3 XDCAM cameras to a shoot and one can come home with a lot of files all with the same name.
Unlike tapes or rolls of film there's no way to scribble notes on them. Planning metadata lets one avoid the problem but more is needed, it'd be handy to not only have unique file names for every clip but also some way to know which camera or unit shot it.
Equally useful is being able to have the ability for notes to be added to each clip. Then there's also having the ability to know all the camera setting used to shoot the clip and that's not just the basic lens data, there's also the scene file.
If the production is shooting RAW or Log then there can also be the issue of what View LUTs were used to show the client the footage on the day.
A lot of the above probably isn't of much relevance to me and what I do, I used to think. Now I can see it being useful. Over the years 99% of what I've shot I've felt was pretty much yuck but there's that 1% that had some magic, so one hangs onto those clips but would be really great if the clip could tell me when and where I shot it and how the camera was setup. Would also be nice if I could have added notes into the clip's metadata that I could easily read down the track.
Bob.
Kimberly
schrieb am 12.09.2014 um 22:55 Uhr
Catalyst Prepare will be available for 199,95 $.
At that price point it sounds like the target market is the "stream of consciousness, hey look at me post from my phone or GoPro upload to Facebook or vlog or maybe small business website" crowd.
Would the people who do the 6 O'clock News use this? Or would they stick to their Vegas Production Assistant and Ultimate S Pro type solutions?
At that price point it sounds like the target market is the "stream of consciousness, hey look at me post from my phone or GoPro upload to Facebook or vlog or maybe small business website" crowd.
Would the people who do the 6 O'clock News use this? Or would they stick to their Vegas Production Assistant and Ultimate S Pro type solutions?
videoITguy
schrieb am 12.09.2014 um 23:04 Uhr
1) If the price point for retail of the Catalyst Prepare software is not over $200 - then this would suggest that this is not high-end media management but rather making something affordable in the same way that VegasPro is an affordable model for a NLE. This would suggest SCS is striving for consistency in its market penetration at the mid-level which should be a good strategy.
2) The collaboration model is also a good strategy given that the market is wide open at this point for such an emphasis. Now this means that VegasPro becomes a bit player because as we all know that NLE leaves a lot to be desired for handling timecode, and other collaborative needs of the NLE side. But assume you leave that unfixed and just move to a cross platform where many kinds of input can come in. Then VegasPro has the ability to support broader and larger projects.
3) Emphasizing metadata - thru out - for planning and organizing - moves away from some of the reliance on the old standards of pushing timecode. This is in fact has been some of argument moving into the newer digital media forms.
2) The collaboration model is also a good strategy given that the market is wide open at this point for such an emphasis. Now this means that VegasPro becomes a bit player because as we all know that NLE leaves a lot to be desired for handling timecode, and other collaborative needs of the NLE side. But assume you leave that unfixed and just move to a cross platform where many kinds of input can come in. Then VegasPro has the ability to support broader and larger projects.
3) Emphasizing metadata - thru out - for planning and organizing - moves away from some of the reliance on the old standards of pushing timecode. This is in fact has been some of argument moving into the newer digital media forms.
Lovelight
schrieb am 12.09.2014 um 23:58 Uhr
Rebranding is the popular trend. No thanks.
farss
schrieb am 13.09.2014 um 01:54 Uhr
[I]"Emphasizing metadata - thru out - for planning and organizing - moves away from some of the reliance on the old standards of pushing timecode. This is in fact has been some of argument moving into the newer digital media forms."[/I]
Timecode in one form or another will always be with us. You want active metadata then it needs something that links that data to the vision stream and that something is going to be either timecode or frame number.
With so many cameras being GPS enabled I suspect traditional timecode will be replaced with TOD.
Bob.
Timecode in one form or another will always be with us. You want active metadata then it needs something that links that data to the vision stream and that something is going to be either timecode or frame number.
With so many cameras being GPS enabled I suspect traditional timecode will be replaced with TOD.
Bob.
videoITguy
schrieb am 13.09.2014 um 02:47 Uhr
Another area that announcement of the features of this initiative highlights - management of various color spaces. Again this looks to unify collaboration issues of video projects that have been seriously neglected till now. I look forward to see how they can do this.
rmack350
schrieb am 13.09.2014 um 02:59 Uhr
With so many cameras being GPS enabled I suspect traditional timecode will be replaced with TOD.
Ideally, TOD and Timecode will just coexist. All of that can probably be calculated from a start time and frame number. Start TOD and Start Timecode could easily be file metadata as long as the tools that do destructive things to the media are designed to preserve this data. If you cut a media file in half you want both halves to have valid timecode/TOD start times. You also want to know which camera the media came from, something that TOD alone wouldn't cover, and Timecode only covers because you follow a convention of setting a custom hour number.
I played a little with the Scratch Player this afternoon. It's Mac/Win compatible and seems to use the interface conventions of neither of them, meaning you have to train people to use it. I think that's a good example of what NOT to do. But it does seem to be aimed at doing similar things to what these Sony products say they do.
I wonder if SCS bought them, or built them from scratch? (no pun intended).
Rob
Ideally, TOD and Timecode will just coexist. All of that can probably be calculated from a start time and frame number. Start TOD and Start Timecode could easily be file metadata as long as the tools that do destructive things to the media are designed to preserve this data. If you cut a media file in half you want both halves to have valid timecode/TOD start times. You also want to know which camera the media came from, something that TOD alone wouldn't cover, and Timecode only covers because you follow a convention of setting a custom hour number.
I played a little with the Scratch Player this afternoon. It's Mac/Win compatible and seems to use the interface conventions of neither of them, meaning you have to train people to use it. I think that's a good example of what NOT to do. But it does seem to be aimed at doing similar things to what these Sony products say they do.
I wonder if SCS bought them, or built them from scratch? (no pun intended).
Rob
rs170a
schrieb am 13.09.2014 um 03:08 Uhr
With so many cameras being GPS enabled I suspect traditional timecode will be replaced with TOD.
I regular browse the audio forums at http://jwsoundgroup.net and the bulk of the folks there (pro audio recordists) use TOD timecode, even on multicam shoots. For the post people, TOD makes a lot more sense than record-run mode timecode.
Mike
I regular browse the audio forums at http://jwsoundgroup.net and the bulk of the folks there (pro audio recordists) use TOD timecode, even on multicam shoots. For the post people, TOD makes a lot more sense than record-run mode timecode.
Mike
ushere
schrieb am 13.09.2014 um 03:50 Uhr
looks good, BUT...
i'm wondering what percentage of users have 'workable' upload speeds?
all this cloud based stuff is all well and good given:
a. fast enough connections
b. plans that are affordable for 'serious' data usage
i can't really comment as i live rurally, with a 2.5mb dl and 64kb up. neither of which is of much use for shuffling anything other than low res video about.
so: what speed do you get for how much?
in fact, so as not to hijack this thread, i'll start another....
i'm wondering what percentage of users have 'workable' upload speeds?
all this cloud based stuff is all well and good given:
a. fast enough connections
b. plans that are affordable for 'serious' data usage
i can't really comment as i live rurally, with a 2.5mb dl and 64kb up. neither of which is of much use for shuffling anything other than low res video about.
so: what speed do you get for how much?
in fact, so as not to hijack this thread, i'll start another....
Kimberly
schrieb am 13.09.2014 um 06:09 Uhr
As to unique names, why can't the camera concatenation the serial number of the camera to the clip? That would address unique naming if you took three of any same camera to a shoot. Yes you could do this manually, but what a PITA.
PeterWright
schrieb am 13.09.2014 um 06:15 Uhr
File names shouldn't be a problem with EX cameras - file names can be preset so each cam can be unique.
pwppch
schrieb am 13.09.2014 um 15:08 Uhr
@Kimberly
The meta data from the cameras often do include the serial number. It depends on the manufacture and the softwares ability to read and use it.
Our catalyst tools are very focused on keeping everything the camera "records" and making it useful. It can depend on how the content was "imported" for the device to the software.
So while the camera does not use this as part of the name, it can be used by the host software to search and organize.
Peter
The meta data from the cameras often do include the serial number. It depends on the manufacture and the softwares ability to read and use it.
Our catalyst tools are very focused on keeping everything the camera "records" and making it useful. It can depend on how the content was "imported" for the device to the software.
So while the camera does not use this as part of the name, it can be used by the host software to search and organize.
Peter
ForumAdmin
schrieb am 13.09.2014 um 22:13 Uhr
@rmack350 -
Catalyst Browse and Catalyst Prepare were fully developed in-house from tight collaboration between SCS in the US, Sony Japan, and Sony Media Cloud Services.
Catalyst Browse and Catalyst Prepare were fully developed in-house from tight collaboration between SCS in the US, Sony Japan, and Sony Media Cloud Services.
rs170a
schrieb am 13.09.2014 um 22:24 Uhr
Here's the press release info on it.
Mike
Catalyst Browse is a free, powerful clip-management tool specifically designed for the latest portfolio of Sony camcorders and decks such as CineAlta, SR, XDCAM and NXCAM, including the new PXW-FS7. Catalyst Prepare, the fast, simple, reliable path from camera to post, works with a variety of cameras beyond Sony, including Canon and GoPro, and offers a set of media preparation tools that bridge the gap between acquisition and editing. Catalyst Browse and Catalyst Prepare both support Windows and Mac OS X and have a simple consistent, UI design across both platforms. The Windows version is also touch-friendly.
"Sony Creative Software is pleased to announce these new products. Our research and development has been focused on uniting our cameras and software in new ways that foster maximum speed and precision on the way to post," said John Freeborg, vice president of Sony Creative Software. "These applications offer solutions that kick-start the post-production process in ways that will make you better, faster, and more organized than ever."
Both applications are built from a set of underlying technology components which combine to provide a powerful, consistent experience:
OpenCL GPU accelerated video engine for smooth playback and fast rendering
Precise color engine featuring ultra wide color gamut and large dynamic range capabilities for previewing and adjusting S-Log, S-Log2, S-Log-3, RAW, and Rec.709 source footage
Precise and comprehensive format support for all the Sony Professional cameras including the new PXW-FS7
With Catalyst Browse, the user can:
Browse — Quickly browse the files on your device using a thumbnail view or detailed list.
View — See the details of each clip, check focus, mark in and out points, adjust colors, and edit metadata.
Fast Copy — Copy all clips on the media, a subset, or only the desired portion of a clip to save time and space.
Ultra Wide Color Gamut — Review with confidence the full range of color captured by your S-Log and RAW Sony cameras. Apply color looks, and import/export standard ASC-CDL files with other workflow tools to save time.
Clip Lists — Create, import, and export Sony Professional Disc clip lists for quick play-out needs.
Transcode and Cloud Upload — Transcode clips to the most popular video production formats. Upload clips directly to the Sony Ci media cloud for collaborative team review.
Catalyst Prepare, built on Catalyst Browse functionality, revolutionizes the post-production workflow with a variety of advanced features, including:
Import — Quickly view and import clips from the latest professional cameras, including Sony, Canon, GoPro, and others.
Organize — Organization is key: Prepare gives you the ability to organize your media into targeted, meaningful collections.
Edit — View the details, zoom into every corner, mark In/Out, edit metadata, adjust colors non-destructively, and create a storyboard to rough draft your vision.
Export — Export a file, a group of files, or a storyboard. Render to .MP4, DPX, OpenEXR, ACES, ProRes (Mac only), or XAVC in a variety of resolutions and frame rates, or upload to the cloud via Sony Ci media cloud for collaborative team review.
Confident Backup — Back up the entire camera media with the confidence of checksum verification.
Ultra Wide Color Gamut — Work with the same wide color gamut as your camera. Set the source color space and the grade color space independently. Grade in Rec.709, Log, or ACES.
Create a Rough Cut — Use the storyboard editor to sequence and edit a rough cut, then render the storyboard or export it to a variety of NLEs.
Price and Availability
Catalyst Browse is a free application. Catalyst Prepare is available for $199.95. Both applications will be available for digital download and physical purchase October 2014. For more information, please visit: www.sonycreativesoftware.com/catalyst.
Mike
Catalyst Browse is a free, powerful clip-management tool specifically designed for the latest portfolio of Sony camcorders and decks such as CineAlta, SR, XDCAM and NXCAM, including the new PXW-FS7. Catalyst Prepare, the fast, simple, reliable path from camera to post, works with a variety of cameras beyond Sony, including Canon and GoPro, and offers a set of media preparation tools that bridge the gap between acquisition and editing. Catalyst Browse and Catalyst Prepare both support Windows and Mac OS X and have a simple consistent, UI design across both platforms. The Windows version is also touch-friendly.
"Sony Creative Software is pleased to announce these new products. Our research and development has been focused on uniting our cameras and software in new ways that foster maximum speed and precision on the way to post," said John Freeborg, vice president of Sony Creative Software. "These applications offer solutions that kick-start the post-production process in ways that will make you better, faster, and more organized than ever."
Both applications are built from a set of underlying technology components which combine to provide a powerful, consistent experience:
OpenCL GPU accelerated video engine for smooth playback and fast rendering
Precise color engine featuring ultra wide color gamut and large dynamic range capabilities for previewing and adjusting S-Log, S-Log2, S-Log-3, RAW, and Rec.709 source footage
Precise and comprehensive format support for all the Sony Professional cameras including the new PXW-FS7
With Catalyst Browse, the user can:
Browse — Quickly browse the files on your device using a thumbnail view or detailed list.
View — See the details of each clip, check focus, mark in and out points, adjust colors, and edit metadata.
Fast Copy — Copy all clips on the media, a subset, or only the desired portion of a clip to save time and space.
Ultra Wide Color Gamut — Review with confidence the full range of color captured by your S-Log and RAW Sony cameras. Apply color looks, and import/export standard ASC-CDL files with other workflow tools to save time.
Clip Lists — Create, import, and export Sony Professional Disc clip lists for quick play-out needs.
Transcode and Cloud Upload — Transcode clips to the most popular video production formats. Upload clips directly to the Sony Ci media cloud for collaborative team review.
Catalyst Prepare, built on Catalyst Browse functionality, revolutionizes the post-production workflow with a variety of advanced features, including:
Import — Quickly view and import clips from the latest professional cameras, including Sony, Canon, GoPro, and others.
Organize — Organization is key: Prepare gives you the ability to organize your media into targeted, meaningful collections.
Edit — View the details, zoom into every corner, mark In/Out, edit metadata, adjust colors non-destructively, and create a storyboard to rough draft your vision.
Export — Export a file, a group of files, or a storyboard. Render to .MP4, DPX, OpenEXR, ACES, ProRes (Mac only), or XAVC in a variety of resolutions and frame rates, or upload to the cloud via Sony Ci media cloud for collaborative team review.
Confident Backup — Back up the entire camera media with the confidence of checksum verification.
Ultra Wide Color Gamut — Work with the same wide color gamut as your camera. Set the source color space and the grade color space independently. Grade in Rec.709, Log, or ACES.
Create a Rough Cut — Use the storyboard editor to sequence and edit a rough cut, then render the storyboard or export it to a variety of NLEs.
Price and Availability
Catalyst Browse is a free application. Catalyst Prepare is available for $199.95. Both applications will be available for digital download and physical purchase October 2014. For more information, please visit: www.sonycreativesoftware.com/catalyst.