Tag Archives: Avid

Avid at IBC with new post workflows based on MediaCentral 

At IBC2017, Avid introduced new MediaCentral solutions for post production. Dubbed MediaCentral for Post, the solutions integrate Media Composer video editing software with a new collaborative asset management module, new video I/O hardware and Avid Nexis software-defined storage.

MediaCentral for Post is a scalable solution for small and mid-sized creative teams to enhance collaboration and so teams can work more efficiently with 4K and other demanding formats, delivering their best work faster. Avid collected feedback from working editors while developing a collaborative workflow that goes beyond bin-locking and project-sharing to include integrated storage, editing, I/O acceleration and media management.

Besides Media Composer, MediaCentral solutions for post integrate Avid’s products in a single, open platform that includes:

• MediaCentral Editorial Management: This new media asset management tool enables everyone in a creative organization to collaborate in secure, reliable and simply-configured media workflows from a web browser. MediaCentral Editorial Management gives a view into an entire organization’s media assets. Without needing an NLE, assistants and producers can ingest files, create bins, add locators and metadata, create subclips and perform other asset management tasks — all from a simple browser interface. Users can collaborate using the new MediaCentral Panel for Media Composer, which provides direct access to MediaCentral content right in the Media Composer interface.

• MediaCentral Cloud UX: An easy-to-use and task-oriented graphical user interface, MediaCentral Cloud UX runs on any OS or mobile device, and is available to everyone connected to the platform. Creative team members can easily collaborate with each other from wherever they are.

• Artist DNxIVvideo: This interface offers a wide range of analog and digital I/O to plug into diverse media productions. It works with a broad spectrum of Avid and third-party video editing, audio, visual effects and graphics software.

• MediaCentral Panel for Media Composer: Within the Media Composer user interface, MediaCentral Panel allows users to see media outside of their active project as well as drag and drop assets from MediaCentral directly into any Media Composer project, bin or sequence.

• More Storage: Avid Nexis Pro now scales to 160 terabytes — twice its previous capacity – to give small post facilities the ease-of-use, security and performance advantages that larger Avid Nexis customers have access to. Avid Nexis E2 now supports SSD drives to deliver the extreme performance required when working with multiple streams of ultra-high-resolution media in real time. Additionally, Avid Nexis Enterprise now leverages 100 terabyte media packs to scale up to 4.8 petabytes.

Assistant Editor’s Bootcamp coming to Burbank in June

The new Assistant Editors’ Bootcamp, founded by assistant/lead editors Noah Chamow (The Voice) and Conor Burke (America’s Got Talent), is a place for a assistant editors and aspiring assistants to learn and collaborate with one another in a low-stakes environment. The next Assistant Editors’ Bootcamp classes will be held on June 10-11, along with a Lead Assistant Editors’ class geared toward understanding troubleshooting and system performance on June 24-25. All classes, sponsored by AlphaDogs’ Editor’s Lounge, will be held at Skye Rentals in Burbank.

The classes will cover such topics as The Fundamentals of Video, Media Management, Understanding I/O and Drive Speed, Prepping Footage for Edit, What’s New in Media Composer, Understanding System Performance Bottlenecks and more. Cost is $199 for two days for the Assistant Editor class, and $299 for two days for the Lead Assistant Editor class. Space is on a first-come, first-served basis and is limited to 25 participants per course. You can register here.

A system with Media Composer 8.6 or later and an external hard drive is required to take the class (30-day Avid trial available) 8GB of system memory and Windows 7/OS X 10.9 or later are needed to run Media Composer 8.6. Computer rentals are available for as little as $54 a week from Hi-Tech Computer Rental in Burbank.

Chamow and Burke came up with the idea for Assistant Editors’ Bootcamp when they realized how challenging it is to gain any real on-the-job experience in today’s workplace. With today’s focus being primarily on doing things faster and more efficiently, it’s almost impossible to find the time to figure out why one method of doing something is faster than another. Having worked extensively in reality television and creating the “The Super Grouper,” a multi-grouping macro for Avid that is now widely used in reality post workflows, Chamow understands first-hand the landscape of the assistant editor’s world. “One of the most difficult things about working in the entertainment industry, especially in a technical position, is that there is never time to learn,” he says. “I’m very passionate about education and hope by hosting these classes, I can help other assistants hone their skills as well as helping those who are new to the business get the experience they need.”

Having worked as both an assistant editor and lead assistant editor, Burke has created workflows and overseen post for up to 10 projects at a time, before moving into his current position at NBC’s America’s Got Talent. “In my years of experience and working on grueling deadlines, I completely understand how difficult the job of an assistant editor can be, having little or no time to learn anything other than what’s right in front of you,” he says. “In teaching this class, I hope to make peers feel more confident and have a better understanding in their work, taking them to the next level in their careers.”

Main Image (L-R): Noah Chamow and Conor Burke.

postPerspective Impact Award winners from NAB 2017

In early April, postPerspective announced the debut of our Impact Awards, celebrating innovative products and technologies for the post production and production industries that will influence the way people work. Our inaugural awards honor the best new or upgraded gear shown at NAB 2017.

Now that the show is over, and our panel of post pro judges has had time to decompress, dig out and think about what impressed them, we are happy to announce our honorees.

And the winners of the postPerspective Impact Award from NAB 2017 are:

• Adobe — Creative Cloud Suite
• Avid — Media Composer | Cloud Remote
• Blackmagic Design — DaVinci Resolve 14
• Dell — UltraSharp 27 4K HDR Monitor
• HP — DreamColor Z31x Studio Display

“The postPerspective Impact Award celebrates companies that have listened to users’ wants and needs and then produced tools designed to make their working lives easier and projects better,” said Randi Altman, postPerspective’s founder and editor-in-chief. “And all of our winners certainly fall into that category.

“Our awards are special because they are voted on by people who will be potentially using these tools in their day-to-day workflows. It’s real-world users who have determined our winners, and that is the way it should be. We feel awards for products targeting pros should be voted on by pros.”

Obviously, there were many new technologies and products at NAB this year, and while only five won an Impact Award, our judges felt there were other tools that it was important to let people know about as well.

Displays for high-resolution workflows were of special interest to many of our judges. In addition to our winners, they pointed to Sony’s CLEDIS, Bravia and XBR displays; SmallHD’s Focus monitor; Eizo’s Color Edge monitors; and Flanders Scientific’s OLED 55-inch HDR display.

Other gear that caught our judges attention — AJA’s FS HDR with ColorFront; Telestream Wirecast with Cloud-Assist captioning; Avid Pro Tools with Dolby Atmos integration; IBM Watson for post production; Mettle’s 360 Degree/VR Depth plug-ins and Skybox Studio v2; G-Tech’s Thunderbolt 3 Shuttle XL; AJA’s KiPro Ultra Plus; and The Foundry’s Nuke 11 and Elara.

Stay tuned for future Impact Award winners in the coming months — voted on by users for users — from SIGGRAPH and IBC.

Steve Holyhead

AJA brings on Steve Holyhead from Fox Broadcasting

Steve Holyhead has joined AJA as senior product manager for desktop products. He joins AJA from Fox Broadcasting Company where he was director of technical operations.

Holyhead recently moved to Grass Valley, where AJA is headquartered, from Los Angeles. In addition to working at Fox, his 20-plus years of industry experience includes developing professional digital video workflows with BloomCast, managing post operations at Discovery Communications and working as a technology evangelist, producer and technical marketing manager for both Discreet (now Autodesk) and Avid. He has also developed Avid and Adobe training courses for multiple partners, including Lynda.com.

“Steve brings a blend of real-world production and technology developer experience to AJA. His understanding of production, broadcast and post, together with his experience both designing enterprise scale workflows and as a master trainer for Adobe, Apple and Avid products, will make powerful contributions to the success of our customers,” says Nick Rashby, president of AJA.

AES Paris: A look into immersive audio, cinematic sound design

By Mel Lambert

The Audio Engineering Society (AES) came to the City of Light in early June with a technical program and companion exhibition that attracted close to 2,600 pre-registrants, including some 700 full-pass attendees. “The Paris International Convention surpassed all of our expectations,” AES executive director Bob Moses told postPerspective. “The research community continues to thrive — there was great interest in spatial sound and networked audio — while the business community once again embraced the show, with a 30 percent increase in exhibitors over last year’s show in Warsaw.” Moses confirmed that next year’s European convention will be held in Berlin, “probably in May.”

Tom Downes

Getting Immersed
There were plenty of new techniques and technologies targeting the post community. One presentation, in particular, caught my eye, since it posed some relevant questions about how we perceive immersive sound. In the session, “Immersive Audio Techniques in Cinematic Sound Design: Context and Spatialization,” co-authors Tom Downes and Malachy Ronan — both of who are AES student members currently studying at the University of Limerick’s Digital Media and Arts Research Center, Ireland — questioned the role of increased spatial resolution in cinematic sound design. “Our paper considered the context that prompted the use of elevated loudspeakers, and examined the relevance of electro-acoustic spatialization techniques to 3D cinematic formats,” offered Downes. The duo brought with them a scene from writer/director Wolfgang Petersen’s submarine classic, Das Boot, to illustrate their thesis.

Using the university’s Spatialization and Auditory Display Environment (SpADE) linked to an Apple Logic Pro 9 digital audio workstations and a 7.1.4 playback configuration — with four overhead speakers — the researchers correlated visual stimuli with audio playback. (A 7.1-channel horizontal playback format was determined by the DAW’s I/O capabilities.) Different dynamic and static timbre spatializations were achieved by using separate EQ plug-ins assigned to horizontal and elevated loudspeaker channels.

“Sources were band-passed and a 3dB boost applied at 7kHz to enhance the perception of elevation,” Downes continued. “A static approach was used on atmospheric sounds to layer the soundscape using their dominant frequencies, whereas bubble sounds were also subjected to static timbre spatialization; the dynamic approach was applied when attempting to bridge the gap between elevated and horizontal loudspeakers. Sound sources were split, with high frequencies applied to the elevated layer, and low frequencies to the horizontal layer. By automating the parameters within both sets of equalization, a top-to-bottom trajectory was perceived. However, although the movement was evident, it was not perceived as immersive.”

The paper concluded that although multi-channel electro-acoustic spatialization techniques are seen as a rich source of ideas for sound designers, without sufficient visual context they are limited in the types of techniques that can be applied. “Screenwriters and movie directors must begin to conceptualize new ways of utilizing this enhanced spatial resolution,” said Downes.

Rich Nevens

Rich Nevens

Tools
Merging Technologies demonstrated immersive-sound applications for the v.10 release of Pyramix DAW software, with up to 30.2-channel routing and panning, including compatibly for Barco Auro, Dolby Atmos and other surround formats, without the need for additional plug-ins or apps, while Avid showcased additions for the modular S6 Assignable Digital Console, including a Joystick Panning Module and a new Master Film Module with PEC/DIR switching.

“The S6 offers improved ergonomics,” explained Avid’s Rich Nevens, director of worldwide pro audio solutions, “including enhanced visibility across the control surface, and full Ethernet connectivity between eight-fader channel modules and the Pro Tools DSP engines.” Reportedly, more than 1,000 S6 systems have been sold worldwide since its introduction in December 2013, including two recent installations at Sony Pictures Studios in Culver City, California.

Finally, Eventide came to the Paris AES Convention with a remarkable new multichannel/multi-element processing system that was demonstrated by invitation only to selected customers and distributors; it will be formally introduced during the upcoming AES Convention in Los Angeles in October. Targeted at film/TV post production, the rackmount device features 32 inputs and 32 discrete outputs per DSP module, thereby allowing four multichannel effects paths to be implemented simultaneously. A quartet of high-speed ARM processors mounted on plug-in boards can be swapped out when more powerful DSP chips became available.

Joe Bamberg and Ray Maxwell

Joe Bamberg and Ray Maxwell

“Initially, effects will be drawn from our current H8000 and H9 processors — with other EQ, dynamics plus reverb effects in development — and can be run in parallel or in series, to effectively create a fully-programmable, four-element channel strip per processing engine,” explained Eventide software engineer Joe Bamberg.

“Remote control plug-ins for Avid Pro Tools and other DAWs are in development,” said Eventide’s VP of sales and marketing, Ray Maxwell. The device can also be used via a stand-alone application for Apple iPad tablets or Windows/Macintosh PCs.

Multi-channel I/O and processing options will enable object-based EQ, dynamic and ambience processing for immersive-sound production. End user price for the codenamed product, which will also feature Audinate Dante, Thunderbolt, Ravenna/AES67 and AVB networking, has yet to be announced.

Mel Lambert is principal of Content Creators, an LA-based copywriting and editorial service, and can be reached at mel.lambert@content-creators.com. Follow him on Twitter @MelLambertLA.

Company 3’s Heydar Adel: The role of today’s online editor

Workflows for episodic TV have changed a lot over the last several years, sometimes daily. A role that has gone largely underappreciated in the process is online editor. Senior online editor Heydar Adel is no stranger to the process, having served in that role for over 17 years. While he has only been with Deluxe’s Company 3 in Santa Monica since last year, he is no stranger to Deluxe itself — he held a similar role at the company’s Encore facility for seven years prior to this recent move.

In describing his current role at Company 3, which provides high-end post services to feature film, commercial, music video and television clients, he says, “I primarily do conforming, which is essentially recreating what the picture editors are doing using smaller, more user-friendly files like Avid DNX-36, but with the larger and more robust files that our colorists works with. That could be a camera-original file format like r3d or ArriRaw, or it could be DPX or EXR, depending on the client’s requirements.”

In addition to the actual conforming of the files, he says, the process almost always involves creating some visual effects. “Elaborate effects and CGI work will go to an effects facility, but I do quite a lot of wire and mic removal, reframing, compositing and those kinds of effects. So that can be clean-up, stabilizations, laptop comps, cell phone comps, gunplay — like sparks and smoke — and those types of things.”

It’s Always Sunny in Philadelphia is just one of the shows that Adel lends his talents to.

Adel makes it clear that he’s not changing the story or making creative decisions, “but the level of polish on a show is quite different when I’m done with it than when it first get it.”

Let’s dig in a bit deeper with Adel to find out more about his role and his workflow…

What tools do you use?
I can work in any of the “online” tools, such as Autodesk Flame, which used to be Smoke. We’ve also started doing some work in Blackmagic Resolve, but I’ve worked most often in Avid since it became possible last year to use Avid Symphony for 4K finishing.

Picture editors mostly work in Avid, so that helps with efficiency. We’re finishing a lot of shows for Netflix and Amazon and other companies who want 4K, and now HDR. I’ve found that working in Avid requires a bit less guesswork in recreating some of the effects the picture editor created so I can focus on bigger issues like compositing.

Can you walk us through an average session?
We get the offline edit in whatever format they use — often DNX36 — and all the raw camera footage. Company 3’s data department handles any transcoding that might be required and then we archive everything. My assistant editor puts the entire project online and I watch a split, with the offline version playing back in one monitor and the larger files assembled on a timeline chasing that version. First I check and make sure that there are no discrepancies between the versions and then I start on the bells and whistles.

What determines what effects you do and what gets sent out to a VFX vendor?
Their editorial department prepares lists of work that needs to be done. I’m part of that conversation and I’ll bid specific effects. So I’ll determine it might take two hours to do the shot and they generally pay a certain hourly rate. Some effects shots require many hours. Then they determine whether they want to do it here or send it out based on any number of factors. For the last pilot I worked on, I did 1,200 Avid visual effects shots for one 80-minute piece.

What tools do you use for the effects work, or is it just Avid?
You can do some of the work in the actual online tool — Avid or one of the others. Beyond that I use Adobe After Effects for a lot of compositing and Mocha for tracking. Mocha (now a Boris FX product) is very effective, and the tracking information translates well into the editing tools. I’ve also done some work in Blackmagic Fusion when I’m using Resolve to conform because they talk well to each other.

What monitors do you use?
I use a big 4K UHD monitor (sometimes Sony, sometimes LG) as the primary display, an HD LCD HP DreamColor as a close-up monitor and an HD plasma for comparisons. I use a nice curved Dell monitor for UI, which has a super wide — 21:9 — aspect ratio. Avid and Resolve interfaces are dual monitor set-ups but you can fit the whole thing on this one screen, and I love it.

What are some industry trends you’ve noticed recently?
The speed at which things need to get done — it used to be 8-12 hours to conform and output a show, now maybe four or five and with a lot more visual effects. Of course, the machines are faster but then as the resolution of the files goes up things naturally slow down again. We’re also working with 16-bit files and HDR and that also slows things down. At Company 3 we’re always maneuvering through these technological changes.

What’s the most satisfying part of your job?
Working on shows I like! Recently, because I’m doing more and more, I have a sense of ownership. My job has changed; I’m not just a conform editor. I’ve contributed to it on an artistic level and I’m embracing the shift. So I watch them again and I’m proud of it. I’ve worked on shows I love and have gotten friends to start watching.

Black Sails Season 3

Black Sails

Name three pieces of technology you can’t live without.
Cutnotes is an iPad app I love. When we play out a show with a client, you sync up timecode in the form of a text file. You can input parameters, like that it’s a 23.976 project, and it’s very effective. I really do love Mocha. It lets me do planar tracking in 3D space. It’s the core of most effects I do. And I use After Effects all the time.

Can you name some of those shows you’ve worked on?
It’s Always Sunny in Philadelphia, The Last Ship, Narcos, Black Sails, and a lot of other shows and pilots.

What social media channels do you follow?
Mostly Instagram. I follow photographers and DPs.

If you listen to music while you work, care to share some of your favorites?
I listen to EDM; ‘90s electronica, like Massive Attack and Chemical Brothers; and Jazz. It’s the best music for VFX comps!

What do you do to de-stress?
I spend a lot of time outdoors with my two little boys!

Ncam hires industry vet Vincent Maza to head up LA office

Ncam, makers of camera tracking for augmented reality production and previs, has opened a new office in Los Angeles, and they have brought on Vincent Maza to run the operation.

Maza spent much of his career at Avid and as an HD engineer at Fletcher Chicago. More recently he has been working with the professional imaging division of Dolby and with data transfer specialist Aspera. He is also a member of the board of directors of the HPA (Hollywood Post Alliance), now part of SMPTE. He will be in Indian Wells, California next week representing Ncam at the HPA Tech Retreat.

“2016 is going to be a great year for augmented reality and we believe we will see a huge uptake in people using it to make television more engaging, more exciting and more challenging,” commented Maza. “Ncam’s camera tracking technology makes augmented reality a practical proposition, and I am very excited to be at the heart of it and supporting our US presence.”

Ncam’s tracking system is able to achieve all six degrees of movement in camera location: XYZ position in 3D space, pan, tilt and roll, so even handheld cameras can be precisely tracked with minimal latency.

Broadcasters have embraced augmented reality with Ncam, including CNN, ESPN, Fox Sports and the NFL. This same technology is used to provide directors and cinematographers with realtime visualization of effects shots. Recent movies using the technology include, Avengers Age of Ultron, Edge of Tomorrow and White House Down.

Bandito Brothers: picking tools that fit their workflow

Los Angeles-based post, production and distribution company Bandito Brothers is known for its work on feature films such as Need for Speed, Act of Valor and Dust to Glory. They provide a variety of services — from shooting to post to visual effects — for spots, TV, films and other types of projects.

Lance Holte in the company’s broadcast color by working on DaVinci Resolve 12.

They are also known in our world for their Adobe-based workflows, using Premiere and After Effects in particular. But that’s not all they are. Recently, Bandito invested in Avid’s new Avid ISIS|1000 shared storage system to help them work more collaboratively with very large and difficult-to-play files across all editing applications. The system — part of the Avid MediaCentral Platform— allows Bandito’s creative teams to collaborate efficiently regardless of which editing application they use.

“We’ve been using Media Composer since 2009, although our workflows and infrastructure have always been built around Premiere,” explains Lance Holte, senior director of post production, Bandito Brothers. “We tend to use Media Composer for offline editorial on projects that require more than a few editors/assistants to be working in the same project since Avid bin-locking in one project is a lot simpler than breaking a feature into 200 different scene-based Premiere projects.

“That said, almost every project we cut in Avid is conformed and finished in Premiere, and many projects — that only require two or three editors/assistants, or require a really quick turnaround time, or have a lot of After Effects-specific VFX work — are cut in Premiere. The major reason that we’ve partnered with Avid on their new shared storage is because it works really well with the Adobe suite and can handle a number of different editorial workflows.”

MixStage             
Bandito’s Mix Stage                                                         Bandito’s Edit 4.

He says the ISIS | 1000 gives them the collaborative power to share projects across a wide range of tools and staff, and to complete projects in less time. “The fact that it’s software-agnostic means everyone can use the right tools for the job, and we don’t need to have several different servers with different projects and workflows,” says Holte.

Bandito Brothers’ ISIS|1000 system is accessible from three separate buildings at its Los Angeles campus — for music, post production and finishing. Editors can access plates being worked on by its on-site visual effects company, or copy over an AAF or OMF file for the sound team to open in Avid Pro Tools in their shared workspace.

“Bandito uses Pro Tools for mixing, which also makes the ISIS|1000 handy, since we can quickly movie media between mix and editorial anywhere across the campus,” concludes Holte.

Currently, Bandito Brothers is working on a documentary called EDM, as well as commercial campaigns for Audi, Budweiser and Red Bull.

Mocha now plug-in for NLEs, BCC 10 integrates Mocha 5

The big news from Boris FX/Imagineer at IBC this year was that the soon-to-be-released Mocha Pro planar tracking and roto masking technology will be available as a plug-in for Avid, Adobe and OFX. This brings all of the tools from Mocha Pro to these NLEs — no more workarounds needed. This Mocha Pro 5 plug-in, which will be available in a month, incorporates a new effects panel for integrated keying, grain, sharpening and skin smoothing as well as new Python scripting support and more.

“Avid editors have always asked us for the Mocha planar tracking tools on their timeline. Now with the Imagineer/Boris FX collaboration, we are bringing the full Mocha Pro to Avid,” explains Ross Shain, CMO at BorisFX/Imagineer. “Media Composer and Symphony users will be able to handle more complex effects and finishing tasks, without importing/exporting footage. Just drop the Mocha Pro plug-in on your clip and you immediately have access to the same powerful tracking, stabilization and object removal tools used in high-end feature film visual effects.”

The availability of this plugin coincides with the Mocha Pro 5 release.

In other company news, Boris FX’s upcoming Boris Continuum Complete (BCC) 10 will have Mocha planar tracking and masking embedded. This is inside every BCC 10 plug-in and can be used for isolating areas of the effect with Mocha masks. The first version to ship will be BCC 10 for Avid in a few weeks.

Besides integrating Mocha Pro 5, BCC 10 will also offer a new Beauty Studio skin-retouching filter, new 3D titling and animation tools, import of Maxon Cinema 4D models, new image restoration filters, new transitions and more host support.

Avid Artist|DNxIO box for high frame rate, 4K workflows now shipping

Avid has started shipping its Avid Artist|DNxIO, a hardware I/O interface designed to simplify and accelerate HD, Ultra HD, 2K and 4K workflows. Available as standalone hardware or bundled with Media Composer software, Artist|DNxIO allows users to capture, monitor and output media quickly — in the highest quality possible. And because the interface, which includes hardware by Blackmagic Design, is designed to be open and flexible, you can use it with Avid and other creative tools too. More on that in a bit.

Currently the company is offering users a path to upgrade: between now and September 30, customers can save more than 20 percent on Avid Artist | DNxIO when they trade in Avid Nitris DX or Avid Mojo DX, or selected Open IO hardware from AJA, Blackmagic Design, Matrox and MOTU.

Built on the Avid MediaCentral Platform, Avid Artist|DNxIO is compatible with Avid Artist Suite solutions and many third-party tools, including Blackmagic Resolve, Apple Final Cut Pro, Adobe Premiere Pro, Adobe After Effects and others. It includes hardware by Blackmagic, which is a new I/O Connectivity Partner for the MediaCentral Platform.

Artist-DNxIO_Back_Enlarged

Avid Artist|DNxIO enables video pros to capture, monitor and output Ultra HD, 2K and 4K media, as well as HD and SD formats. Its fits in standard 19-inch equipment racks for easy integration in equipment rooms, and it’s quiet enough to place on the desk of an edit bay. The HD display allows editors to monitor media that is being ingested into and outputted from the system, even when the software is not running. A host of connections delivers fast switching among a range of input devices and sources for capture, as well as a range of monitors and output devices. Hands-on controls allow users to easily select video, audio, and timecode inputs as well as deck control.

Avid Artist|DNxIO is bundled with Blackmagic’s Fusion Connect plug-in for Media Composer. This gives users access to this node-based effects compositing tool from within the Media Composer user interface. Onboard DNxHR encoding for capture workflows will be enabled on DNxIO via a future no-cost firmware update. Updated software for supported creative editorial applications will be required to take advantage of this capability.

Here are some details of the release:
• Capture and playback up to 60 frames per second in HD format.
• Work faster and more efficiently with realtime or accelerated encode, decode, colorspace conversion, upconversion, down conversion and cross conversion with onboard hardware processing.
• Operation reliably with a redundant power supply
• Connect to a variety of computers using PCIe or Thunderbolt connections (cables sold separately)
• Easily integrate with existing workflows using multiple connections
• Timecode in/out is available on board
• Control the system from external devices using remote control ports
• Monitor media with confidence using a bright front-panel full 1080 HD LCD display.
• Get hands-on control over sources of video, audio, timecode, and remote control signaling
• Video inputs and outputs:
– Four SDI in, four SDI loop, four SDI out and four SDI repeated out, providing 12Gb/s in/out with support for single link, dual link and quad link (quad link in coming soon)
– Dual Optical SDI in/out which support 3Gb/s and 6Gb/s SDI – 12Gb/s support coming soon (modules not included)
– HDMI in and out
– Analog video in and out—component and composite
• Audio inputs and outputs:
– Balanced analog audio — four channels in, four channels out
– AES/EBU— two channels in, two channels out
– Consumer Hi-Fi inputs for MP3 players and other devices
– Front panel features mic input with 48V phantom power, mic level control, headphone connection, and headphone level control