Use our code M31 for 20% off the $445 charge for the CCW Conference Package
What’s that get you? How about attending a keynote by industry leader John Landgraf, CEO of FX Networks and his breakthrough programming venture, FX Productions. There’s much more, so see more here. Remember – you just won’t have any other place to go in New York over the next year to meet those at the top of broadcast production.
Want the unique training series New York Post|Production instead? You won’t get 20% off these classes, but if you want to hear from top video training gurus like Richard Harrington, you can find out more here.
For a number of years, CCW – Content & Communication World – was a show that offered a floor of tech that you couldn’t see elsewhere, that gave you a taste of what happened at that year’s NAB convention. But it was just that; a bit like the car shows that turned up at that 11th avenue address, it was interesting but not much more.
But the number of companies attending slowly dwindled; the show started to drift along. CCW became just another show in town, one that it really didn’t matter if you attended or not.
Well that’s starting to change. In a big, Las Vegas sort of way. This year’s show will just start to give you a sense of where it’s all going. That can be summed up by the acronym NAB, as in the NAB now owns the show.
Or shows. At the end of last year, NAB bought both CCW and Satcon (the satellite communications show that attracts both civilians and military drab), which fit together in the increasingly crowded lower level of the Javits Center.
So why is the NAB back in the game? If you didn’t know, the NAB had run just this sort of show in the Javits before leaving in 2008.
“We’ve had our eye on New York and the New York media market for some time, given the number of organizations and all the activity that’s centered in the city’s media and entertainment side,” says Chris Brown, Executive Vice President of NAB’s Conventions & Business Operations. “CCW is a perfect complement to what we do in April in Las Vegas.”
According to Brown, the NAB has been looking for ways to connect to the industry more than that one chance per year in Vegas. The NAB had created a show in New York, called Post Plus. But it ran only two years, and the 2008 recession shut it down, as many companies were filling the pinch and didn’t want to shell out for another show.
CCW, however had a successful 12 year run. NAB got back into our market by purchasing the show, while adding extended sessions such as the New York Post Production conference. This is actually a full spectrum of Future Media Concepts training classes, the software training sessions that have become popular at the big show. These classes are held off site at FMC’s New York headquarters.
Also new this year is the Broadcast IT Summit, with a half-day of presentations on the importance of IT in the television and web markets. This brings some high-level talent to town, as HITS (Hollywood IT Summit) is a regular on the West Coast. The group works year-round with the CIOs of Hollywood studios to improve information exchange among these increasingly heavy users of the top computer tech available. With this show, the group launches its New York chapter.
The presentations looks to bring discussion in the heart of the broadcasting market to a peak. Talks include a keynote: IT Meets Creative – Data Enhanced Decision Making and Broadcast Programming. These sound like something I’d like to hear myself: Digital Advertising and The Evolution of the Non-Linear/Broadcast TV Model and The Smart Digital Production Work Flow: Concept to Camera to Consumer and Beyond. Top folks from the most creative networks, cablers and studios will make this an fast launch to what looks to become a larger part of coming CCWs.
So come to the show. The show floor is bigger than ever before, growing 10-percent over last year to offer some 300 exhibitors. They’re ready to talk tech in a much more relaxed show than the frenetic one in April.
Use our code M31 for 20% off the $445 charge for the CCW Conference Package. Sign up here!
How about a chance to hear about a coming Golden Age for VFX in NYC? Can it happen? Listen to those making it real, the exec producers and VFX supervisors from top NYC facilities. No. Really. There’s much much more worthwhile folks to meet, so check it out here. You won’t find any other place where your business card will introduce you to the top visual effects dealmakers in New York.
Here’s a quick take on a sliver of the new tech that will turn up on the show floor.
Canon is expected to show its new EOS C100 Mark II. Calling it v.2.0 of its entry-level “indie-friendly” C100 camcorder, this new model is for anyone who wants to use a camcorder that’s actually designed for the rigors of production – we’re talking anything but a hard to handle DSLR here.
The camera is light, some 2.5lbs. You have access to over 100 Canon EF lenses. But what really is not to be missed is how Canon’s STM lenses work with the camcorder; they deliver smooth and silent autofocusing – no clicking or grinding we’re told – while shooting video.
Features include advancements in its image processing over v1.0, AVCHD and MP4 compression, 1920×1080/60p recording, and yes, uncompressed YCbCr output from HDMI. You might like to check out too the new viewfinder and OLED panel.
EditShare has become a standard for shared storage capable of working easily with a variety of NLEs. The Boston-based company gets props from me, and they have put their own money and years of development time into bringing back Lightworks, a free and easy-to-use NLE that has been adopted by Hollywood pros and others around the world.
EditShare’s latest innovations include the new XStream EFS scaleout shared storage system; Flow v3.2, the latest release of the company’s media asset management platform; and new scalable Ark 6U LTO Tape Libraries.
XStream EFS might be especially interesting to production houses building up with the new amount of production now handled in Gotham. XStream EFS is a distributed scaleout file system developed for media intensive workflows. That means it’s been designed from the ground up to support large scale workgroups requiring high bandwidth, high volume media ingest, transcoding, online collaborative editing, and multiplatform distribution of HD, 2K, 4K, and beyond.
Another Bay State company is Facilis, a long-time provider of multi‐platform, high-speed storage arrays. The Hudson, Mass-based company has built years of upgrades and changes into its main product for post, the TerraBlock shared storage system with 8/16Gbps Fibre Channel and 1/10Gbps Ethernet through its Facilis Shared File System,
Now offered in V6.1, the latest TerraBlock supports OSX Yosemite 10.10; has been qualified for RED Epic Dragon 6K workflows as well as NewTek TriCaster’s Capture to Multi‐user Write volumes; has Final Cut Pro X 10.1.3 support for Multi‐user Write Libraries; and support for Avid Media Composer 8.2.
Earlier this year, MAXON introduced Cinema 4D R16. This next generation of the company’s increasingly popular software suite in the New York market is a much friendlier-to-use product than practically any other 3D product out there. Adobe actually offers a “Lite” version of the software for free, so that users of After Effects have a 3D app that integrates with it easily.
None other than NYCPPNEWS own Joe Herman, also tabbed as creative director at Legend Multimedia by MAXON, will lead a session at CCW: “What is Projection Mapping and How Can I Use It?” Date/Time: Thursday, November 13, 10:15 a.m. 10: 45 a.m. in the Production+Post Theater.
If you’re not sure what projection mapping is, this is the session to attend. Joe is a great teacher who will help attendees understand the technique by taking photographs and matte paintings and mapping them onto simple 3D geometry to give the effect of creating complex rendered worlds and sophisticated lighting. He will also demonstrate how to set up a scene using Cinema 4D.
mTape deserves a visit. They claim to be one of the first companies to integrate high-speed, plug and play Thunderbolt ports into its new LTO6 drives.
LTO-6 tape storage can significantly reduce storage costs, coming down to around 1.3 cents per GB. One LTO-6 cartridge can hold some 6.25 TB of data, more than three LTO-4 cartridges. mTape’s implementation of LTO Ultrium-6 technology provides up to 400 MB/s data transfer rates, or more than 1.4TB per hour of backup performance per drive.
There’s a lot more good technology at the show. Look for our CCW 2014 wrap-up to tell you just what top gear came to town.