24 TVBEurope
Best ofIBC2013: Recording Recording
www.tvbeurope.com October 2013
4K recording: The new KiPro Quad used with a Canon C500 camera
AJA — KiPro Quad: The new on-camera recorder can do HD, 2K, Quad HD and 4K, via single, dual or quad link, and can encode the camera’s native output or do a conversion (the Sony F55 only outputs at 4096x2160, but the KiPro Quad can convert it to 3840x2160). It allows RAWoutput to be captured by a computer via Thunderbolt at the same time as it records to ProRes. “Nobody else can do that,” said Jon Thorn, senior product manager. It also has dedicated monitor output, with HD-SDI and HDMI at the same time.
www.aja.com
SanDisk — CFast 2.0: The latest CompactFlash card format, developed with ARRI, can cope with high- speed, higher resolution cameras. It is one reason the Amira (the first camera to use it) can record 200fps. “It has a write speed of 350MBps and
Atomos — Blade + Spyder: “Lots of customers are spending a lot of time on colour correction and the right place to fix something is when you’re shooting,” said Atomos CEO, Jeromy Young, but this requires a properly calibrated monitor, which is why Atomos has a new €149 calibration device for its recorders. The Spyder is built by Datacolor, with software by Atomos, and can calibrate the monitor to Rec. 709 or 6500K white point automatically in about a minute. It is ideal with the new Blade recorder, which can also be used as a high-quality 1280x720 monitor with (thanks to the latest upgrade) highly accurate 14-channel audio monitoring.
www.atomos.com
Recording
AJA/EVS — TruZoom: This does region of interest extraction of HD from a 4K source. “It’s completely real time. It’s as easy to use as anything live can be,” with touchscreen, mouse or joystick control, said Dave Sampson, AJA’s senior product manager. It is based
Sliding in to position: Users can easily slide the HD window around the screen to select the best view
on AJA’s powerful Corvid Ultra hardware, the scaler part of which has only just been added as an upgrade. A version of the system is being used by EVS as part of its live 4K production system.
www.aja.com www.evs.tv
Recording media now CFast-er: Park slots a card into ARRI’s new AMIRA
reads at 450MBps and will also be usable on the Alexa XT and XR via a Codex adaptor” (CFast is also supported for post via Codex Vault), said Susan Park, director of retail product marketing, SanDisk. The Extreme Pro CFast 2.0 cards will initially be available in 60GB and 120GB capacities. Files are closed continuously, so accidentally removing the
card or suffering a power loss during recording results in a readable, uncorrupted file.
www.SanDisk.com
Recording
Sprint finish: The prototype For-A 4K Extraction System in action at IBC
For-A — 4K
Extraction System: To make the most of images from its FT-ONE high-speed 4K camera, For-A has developed a system to extract HD windows of the larger image. It means you don’t miss any of the action by covering a
wider area, but are able to get in closer for the slow-motion replay. Users can set in and out points, and simply drag the HD window so the image tracks the action. It will work with any 4K camera and will be available later this year.
www.for-a.com
I-Movix — d-flicker and ColorMatch: The new de-flickering system should deliver flicker-free ultra slow motion in realtime, without any of the flickering problems typically encountered by high-speed camera users in situations lit by artificial lighting. Designed for use with SprintCam Vvs HD and X10/X10+ systems, it is “the first and only fast processing automatic de-flickering
Renard: Automatic de-flickering and colour matching system “world first” for ultra slow motion
solution,” claimed company CEO, Laurent Renard. Another claimed industry first is the automatic colour matching, available on the X10/X10+, which will provide automatic in-field calibration between I-Movix systems and other cameras used in a live broadcast.
www.i-movix.com
Recording
Climer: “We want simplicity of use with any camera on the planet”
Sony — Ci: “We can see opportunity throughout our hardware to make it cloud enabled. We want to help people to collaborate and share content,” said Naomi Climer, president, Sony Media Cloud Services. Ci allows lots of people to view and comment on material, or to create and manage an archive. It is also ideal for organisations that want to expand their storage, and don’t have a capital budget to do so, but might have an operational budget, as it is available as a service, and is highly scalable, so it can be used by an individual or an enterprise. Its interface is also flexible, giving it several uses, such as for legal reviews (where its frame accurate comments are useful).
www.pro.sony.eu
Cloudy with a chance of metadata: Tarrant with the new AJ-PX270
Panasonic — Cloud Workflow: Its new cloud ENG system should make it simpler to preview images, add metadata and eventually stream live news. “We are developing the backend and workflow to get the content back to base quickly and cost effectively,” explained Rob Tarrant, European product manager, Broadcast and Pro AV. The new AJ-PX5000 and
AJ-PX270 camcorders can use a SIM to connect to the cloud, so that those who benefit from metadata, back in the TV station, can create it, email it to the camera, and after the shoot a proxy is pushed to the cloud for viewing and editing. “The EDL can be sent back to the camera, which will then FTP full res quality to the cloud,” he said. In future, they will also be able to stream live while recording.
www.panasonic-broadcast.com
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