December2013
www.tvbeurope.com
TVBEurope 37 The Workflow
data stream, that makes working with their product difficult. Beyond that it really is a matter of horse power,” adds Ferguson. “You need to be able to handle both RAW workflows and baseband,” says Button. “The Ki Pro Quad provides this with debayering for the Canon C500 as well as baseband support for a camera like the Sony F55.” Gross believes there will be
many 4Kworkflows. “For some it will mean more powerful machines. For others it will mean working with more heavily compressed file formats. For others still it will mean using smaller proxy files until they have to go back to the 4K material to finish a project. None of this is new, but people tend to forget that we had the same struggles just a few years ago when we were dealing with HD and less powerful computers.” “4K generally means
more data to move around, particularly if uncompressed. Any 4K workflow must be
able to clone and verify data as quickly as possible so that the original camera media can be recycled back to set. 4K playback and visual QC are also vital. Codex Vault enables the cloning and archiving of media from various cameras (such as ARRI, Sony, Canon, Red) plus the creation of dailies. The Review module allows for playback and visual QC of material. This can be in an on-set or near-set environment or even in a remote location as Vault can run off a battery,” says Priestnall. “Different cameras are being used on productions so Codex Vault provides a simple, unified workflow no matter what camera is used.”
www.aja.com www.arri.com www.atomos.com www.blackmagicdesign.com www.cinedeck.com www.codexdigital.com www.convergent-design.com www.lgztech.com www.sandisk.com www.vitecmm.com
vectorscope, false colour mode and zebra), focus tools and basic LUT control. They record to two 2.5-inch SSDs, with SDI and HDMI I/O with conversion between both. The Odyssey7Q can record uncompressed DPX video as well as compressed formats, plus ARRIRAW, Canon RAW, and Sony RAW, for 4K recording. It can also take in up to four HD inputs, with multi-viewing, and record all four, or record three plus a programme feed (with the monitor being used as a live switcher with EDL output).
The USB Recorder from LGZ Broadcasting Technology is a new way to supply immediate and distributable copies of the recorded events, particularly suited to an OB truck. “DVDs have long fitted the bill, but these take up lots of space, offer low video quality and are quite expensive. We therefore have developed a unique solution (from what we know the only one worldwide) that records an audio video signal (HD-SDI) live on to eight USB sticks simultaneously,” says its CEO, Joachim Koitsalu. It only takes 10 seconds until eight copies on USB
Four in one: The new Odyssey7Q can record 4K or four HD cameras
sticks (or drives) can be distributed, with standard H.264 HD files. It costs €2100 including a Blackmagic Design DeckLink SDI interface.
Vitec’s new Focus FS-H70 portable SDI recorder records frame-accurate timecoded H.264 clips (up to 1080p)
as .MOV, MP4 or AVC HD files while being able to stream a 480x360 resolution live video over WiFi for mobile preview. Users can also operate it and review clips on its SDHC card via WiFi. “Vitec’s new FS-H60 recorder with HDMI input ships this month.
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4th - 6th Feb 2014 Stand 9-F104
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