INTERWOVEN INC GOES PRIMETIME WITH BLUEFISH444 |
| April 11, 2008 |
“What I like best about the SD|Prime card is that it simply works. Many companies claim ‘out of the box’ connectivity but few can live up to it. The Bluefish444 team has done their homework and this product really works ‘out of the box. I also love the integrated serial connection since that is a long-gone feature of most computer systems, and therefore no serial/USB converters are necessary. The card has more than lived up to my expectations.”
Jeff Cowan, Director of Marketing and Communications |
| |
|
|
|
| |
|
| |
VIDEOSHIP AND MULTI-TASKING BLUEFISH CARD HELP
NBC NEWS CHANNEL SERVE AFFILIATES - FAST |
| April 11, 2008 |
After an extensive evaluation of multiple video-card vendors products, the BlueFish 444 SD|Greed card was selected as the most versatile and cost-effective solution for the News Channel deployment. While other vendors offered a 3-card solution, a single Greed card supports concurrent play-out with dual encoder inputs, and provides the quality and reliability required for this mission-critical application. |
| |
|
|
|
|
GIANT ASIAN ROBOTS BRINGS EARLY HISTORY OF SINGAPORE TO LIFE WITH BLUEFISH 444 |
| September 5, 2007 |
 |
The Bluefish 444 HD|Lust enabled Giant Asian Robots to capture the uncompressed output directly from the camera at a higher resolution than what was available to them if they captured from tape. With the amount of post production going into every frame, the extra color information Giant Asian Robots received from the Bluefish444 HD|Lust was extremely important so they could maintain the downstream image qualit |
|
| |
|
|
|
| |
|
GHOST CREATES CUTTING EDGE COMMERCIALS AND SHORT FILMS WITH BLUEFISH444 HD|LUST AND ASSIMILATE SCRATCH® |
| September 20, 2007 |
 |
|
| Ghost in Copenhagen, the biggest digital visual effects house in Scandinavia, is utilizing Bluefish444 HD|Lust and ASSIMILATE SCRATCH® to produce commercial spots, music videos and feature films for advertising agencies and film production companies. |
|
|
|
|
|
SONY PCL GOES 'HYBRID’ WITH BLUEFISH444
|
| |
Sony PCL is an industry-leading facility concentrating on high-end post-production processing for TV, CF, films, as well as content and events production.
Bluefish444 was choosen for the RGB 4:4:4 and YUV workflows using the HD fury with Adobe Production Studio. |
| |
|
|
|
|
|
| |
HIBERNATION SPRINGS TO LIFE WITH THE ADOBE VIDEO COLLECTION
AND BLUEFISH444 HD|FURY |
John Williams, one of Britain's up and coming film directors, used the Adobe Video Collection and Bluefish444's HD|Fury to produce Hibernation, a fifteen-minute live action/animation short for the big screen.
|
|
| |
|
|
|
|
|
Kanal 75’s gets real-time racing stats
By James Careless
TV Technology Europe JULY/AUGUST 2006
|
| To date, Kanal 75 has developed a family of Radix character generator products; all built using Bluefish444 HD and SD video cards |
| |
|
|
|
|
|
| |
| |
|
| |
|
| CUTTING EDGE GOES DI RGB 4:4:4 WITH HD|LUST AND SYMMETRY |
|
|
Cutting Edge, one of Australia’s largest full service post production companies, with facilities in Brisbane, Sydney and on the Gold Coast, is utilizing Bluefish444’s HD|Lust video graphics card and Symmetry application for use in a DI RGB 4:4:4 workflow on a blockbuster feature film shot in Australia to be released June, 2006. |
| |
| |
|
|
|
| IMAGE LINE PRODUCTIONS MOTIVATES, EDUCATES & ENTERTAINS IN REAL TIME WITH BLUFISH444 HD|FURY AND ADOBE PREMIERE PRO |
|
|
 |
| “Bluefish has been taking quite a bit of abuse from us in the form of different file formats, computer installations and also, gasp, traveling. We took the machine with us onto the green screen stage to record directly onto the media drive so that we could bypass the Sony HDCAM compression so that we can get a pristine image for keying. That worked like magic. We found the HD|Fury very resilient and flexible. We use it both for HD and SD shows.” |
| |
|
|
|
| 7th April 2005. |
DUCKLING CONFORMS FEATURE WITH
HD|LUST AND AVID DS NITRIS! |
|
"The nice thing about this workflow is that
you have all the raw files as frame stacks
available throughout the facility without
spending time on exporting. We could instantly
access the material in 3rd party tools like
shake. And easily outsource VFX shots to
non expensive workstations.
I would definitely recommend this workflow
for long form projects with a lot of effect
shot where material needs to be shared amongst
artist."
|
| |
|
|
|
| August 19, 2004 |
Blu make
use of Bluefish444’s products in development
on BluBox |
|
| "In our search for a DirectX
graphics adapter with SDI output we were introduced
to the BlueFish444 series of cards. These cards
allow for fast copying of frames or fields from
a separate graphics adapter for output via a
genlockable broadcast quality SDI output." |
|
|
|
| July 7th, 2004 |
Wideeye
interactive upgrades Wildblue AV drivers to
OSX Panther & FCP 4.1 in a G4 then to G5. |
|
I purchased a Bluefish444 Wildblue|AV card
18 months ago to use in my G4 1.25 GHz with FCP
3 (2GB RAM with ATTO UL3D SCSI card). Being new
to high-end video and on a tight budget, I bought
the card knowing it would work on the PC and
Mac platforms. I could always install the Wildblue|AV
in my PC if the Mac did not work. However I used
this configuration to make commercials successfully
with my Mac. Still just knowing my card works
in my PC adds value for me. |
| |
|
|
|
| |
| May 30th, 2004 |
Image
Engine uses the Bluefish444 HD 10 Bit Cineon
workflow |
|
"Image engine required a 10 bit uncompressed
Cineon file format workflow solution. We needed
a tool to digitize HD material to the Cineon
file format and export it back to tape frame
accurately. Preferably, we needed an I/O solution
compatible with our existing Windows visual effects
applications." |
| |
|
|
|
| |
May
27, 2004 |
Amalgamated
Clyde, Inc. Dives into WildBlue AV |
|
"We captured all
of the material from the shoot directly through
Premiere Pro. The very first thing we noticed
when we played back the captured footage was
that it looked exactly like the source footage.
It had a transparency that I hadn’t seen
from any other card or NLE that I have worked
with. I compared the results to footage captured
with another of our NLE systems and really noticed
the difference by comparing the grain structure
of the film image, which was somewhat blurred-out
by the other uncompressed capture card. There
were also subtle color shifts in the footage
that were not present in the clips captured with
the Wildblue. " |
| |
|
|
|
8th
April 2004. |
Digital
Film Group goes blue with HD|Lust and Symmetry! |
 |
"The system worked
flawlessly - once we had our drive array configured,
we couldn't break it no matter what we threw
at it. The SYMMETRY SOFTWARE GUI interface is
monkey-simple, and as lean and mean as I/O software
needs to be. We also love the BLUEFISH444 HD
| LUST’s ability to capture to the DPX
image specification, preserving important production
data early in the feature film finishing chain." |
| |
|
| |
|
|
|
|
