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Accentize dxRevivePro v1.2.0: Enhanced Studio and Natural Algorithms, EQ Restore
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ARRI ALEXA 35 SUP 1.3.0: New ProRes 3.8K 16:9 Format
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Ikegami: HDK-X500 Portable 3-CMOS HD Camera at IBC 2024
360 Seconds. Broadcast News & Commentary is a weekly program on Youtube about the latest equipment for broadcasting and film. Explained by experts – practitioners directly working in the field of cinema and television.
Hosts: Philip Grossman, host and co-producer at Visionaries, and Ezequiel “Pax” Moore. Production – TKT1957 LLC. Aired July 8, 2024.
Accentize has released version 1.2.0 of its flagship speech restoration plugin, dxRevivePro
Pax: Accentize has released its flagship speech restoration plugin, dxRevivePro. This update introduces three new algorithms – Studio 3, Natural 2, as well as EQ Restore. Philip, what is your take on this news?
Philip: Well, I’m not an audio person, and I’ll be quite honest, audio is one of those things that’s probably the most difficult and sort of the unsung hero in video. What’s the saying? Audio without video is just radio, but video without audio is security cam footage. So audio is very important. It’s interesting what AI has started to bring to the audio field. Audio, from an AI perspective, is much easier than video; there are far fewer variables. This tool really does a good job of isolating the voice, reducing extra reverb in the room, or handling dropouts. It really is doing a great job in making audio that much better.
Obviously, on a full feature film, you’re probably going to have a good audio technician who may be there to save you, but for documentary filmmakers and people doing interviews where you just don’t have the ability to set up in a sound-isolated room or have sound dampening with you, it’s a great tool to give you perfect or nearly perfect audio. What’s nice about it is you can tune it to either be really machine-processed or just add a little bit, and anything in between. So you really can pick how that tech is going to be applied.
ARRI has released Software Update Pack (SUP) 1.3 for ALEXA 35
Pax: Awesome. ARRI has released a Software Update Pack 1.3 for the ALEXA 35. It includes a new 3.8K format for recording, enhanced monitoring options, including playback support for headphones with the AEM-1, additional lens user buttons, Wi-Fi improvements, as well as other metadata enhancements. What are your thoughts about this one, Philip?
Philip: So, I’m a RED shooter, so ARRI is my nemesis… just kidding. ARRI makes fantastic cameras. They are, I think, 70% or so of the film production world. It’s interesting to see that effectively, cameras nowadays are computers that happen to have a sensor and lens mount on them. The ability to improve and add features and functions to those cameras over time is really a value to the end user, the person who just purchased the camera. So you’re not just purchasing something that, when you pull it out of the box, that’s all it’s ever going to do. They’re able to add these different and increased functionalities and capabilities to the cameras over time.
So it’s an exciting world. I’m glad to see ARRI sort of jumping on that bandwagon as well and really pushing those boundaries with what they’re able to process in the camera. For all the ARRI users, I think this is a great update. This camera, I think, came out in 2022 and has sort of become a mainstay in the film world. Now they have some additional features and functions that they’ll be able to apply in the field.
Ikegami: HDK-X500 Portable 3-CMOS HD Camera at IBC 2024
Pax: Awesome. Ikegami will introduce the HDK-X500 portable 3-CMOS HD camera. It will make its European market debut at IBC 2024 at the Amsterdam RAI convention centre, starting on Friday, September 13 through the weekend. Philip, I know you travel a lot. Is this something that you’re taking a trip for? Is it something that’s worth going out to see in Amsterdam?
Philip: Yeah. So I will be at IBC in Amsterdam, so I’m interested in seeing this camera. Ikegami is one of the leaders in that sort of studio broadcast camera market with a 2/3 inch sensor and B4 mount. It’s interesting that they’re still using a three CMOS sensor setup. A lot of cameras have gone to single sensors, but they’ve kept the three CMOS, so you’re effectively getting a better quality image in the studio. It’s designed to be both pedestal mounted, within a production studio or on a jib, or it can be shoulder-mounted, so they’ve really thought about making it a more universal camera.
I’ve never been a big fan of the 2/3 inch sensor. I understand it, I understand the need for it in television. You’re starting to see a lot of organizations sort of move away from that, although I think this will be a great equalizer for those who are in that 2/3 inch sensor B4 mount arena. Being able to have native 4K with a three-chip design really gives the resolution that you need within a studio. I know typically you get that soap opera look, but I think that the processing and the capabilities of these sensors have sort of made them have a more, and I hate to use this term, but filmic look to them. The fact that it is a 3-CMOS sensor will really help along those lines as well.
Pax: Awesome. Many thanks to our expert Philip Grossman and the TKT team. Let us know your thoughts in the comments!
360 Seconds. Broadcast News & Commentary
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