December 2013 www.tvbeurope.com


One of the biggest reasons for turning to external recorders is the proliferation of formats


negative so any recording device must be extremely reliable,” as must the recording media. “Any recording device must be small so as not to overly increase the size of the camera package.” And “the recorder is just the beginning of a workflow that goes from production through post to the ultimate distribution of the product. Having a simple, robust workflow is key, including the implementation of industry standards like ACES,” she says. “Key market drivers for


powerful and flexible external recorders continue to be the proliferation of new cameras and the multi-format on-set and delivery demands of today’s productions,” says Bryce Button, product marketing manager, AJA Video Systems. Its new Ki Pro Quad supports multiple monitoring options from 4K SDI to dedicated downconversion, with both HD-SDI out and HDMI, which he says turns it into a 4K/UHD processing hub on set.


“One of the key drivers for Cinedeck is format flexibility, and Cinedecks deliver virtually every file format required for any production workflow across episodic TV, live, OB, post production and archiving applications,” claims Suzette Ferguson, Cinedeck senior VP of Worldwide Sales. Its units can also deliver the required format, written to the most appropriate destination, eliminating copying and moving media. “In general, many facilities are still in transition to a fully file-based production chain and recording appliances like Cinedeck fill the need for SDI sources to go direct to file storage.” One of the biggest reasons


for turning to external recorders is the proliferation of formats, adds Ferguson. “Cinedecks deliver hundreds of the most commonly used combinations with more being added on a


Run to record: The latest


in external recorders AJA’s Ki Pro Quad records 4K, UHD, 2K and HD in 10-bit 4:4:4 and 10-bit 4:2:2 and can output to attached DIT workstations via Thunderbolt, while debayering and encoding to Apple ProRes files on inserted AJA solid- state Pak Disks for ready-to-edit files. It includes an uncompressed and debayered 4K monitoring output plus HD monitoring via SDI and HDMI. ARRI recently introduced the Alexa


XT camera, which uses an in-camera ARRIRAW module developed by Codex, recording at up to 120fps (16:9). It uses Codex Capture Drives inside the Alexa, saving space and the need for cables. “Bringing recording inside the camera has proven a huge success, although Codex Onboard S and Onboard M recorders continue to be used on major feature films, television shows and commercials,” says Priestnall. SanDisk’s new CFast 2.0 CompactFlash card format, developed with ARRI, allows higher- speed, higher resolution capture, and is one reason the Amira (the first camera to use it) can record 200fps. “It has a write speed of 350MBps and 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. Files are closed


continuously, so accidentally removing the card or suffering a power loss during recording results in a readable, uncorrupted file.


Atomos has upgraded its Samurai Blade with new software, and also introduced a new €149 calibration device, the Spyder, that can calibrate the Blade’s 1280x720 monitor to Rec. 709 or 6500K white point automatically in about a minute. “When you add the waveform, vectorscope and calibration, you really know what you are recording. It means you save time in post and you can be more creative,” says Young. Blackmagic Design’s new $995 HyperDeck Studio 2 (HD recorder) and $1995 HyperDeck Studio Pro 2 (for 4K) are the latest versions of its rack-mounted uncompressed, ProRes and DNxHD disk and SSD recorders. The Pro 2 supports 6G-SDI and HDMI 4K connections for Ultra HD, with 4-channel SDI I/O, Thunderbolt, HDMI, XLR and analogue ports. Blackmagic hasn’t announced plans to add 4K to its more portable Shuttle recorder, but the Pro 2 indicates the direction it is taking. Cinedeck now allows full Ultra HD and 4K RAW recording with simultaneous HD master, and Proxy editorial/deliverable files, with uniform and flexible- file naming and metadata. There is also support for simultaneous streamable H.264 to the web, via a streaming server, for remote review and approval, and for growing files, so that content can be


edited/reviewed before a file is closed.


Solid-state of the art: AJA’s 4K Ki Pro Quad


Convergent Design’s new Odyssey7 and its Odyssey7Q (due January) both have a 7.7-inch 1280x800 touchscreen OLED monitor offering a reference-grade Rec. 709 or DCI-P3 image plus exposure tools (waveform, histogram,


TVBEurope 35 The Workflow


When everyone needs a copy: Koitsalu with LGZ’s new USB Recorder


Media matters: Park shows off the new high-speed CFast 2.0 card used in the Amira


Focus FS-H50, FS-H60 and FS-H70 portable recorders


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