Tag Archives: HD

AJA intros single-cable RovoCam UltraHD/HD compact camera

AJA has added a second camera to its line of acquisition products. RovoCam is a compact block camera for broadcast and pro A/V as well as industrial, security and corporate apps. It captures UltraHD and HD imagery using Sony optics with built-in 12x optical and up to 20x zoom with Sony Super Resolution Zoom.

RovoCam has an integrated HDBaseT interface supporting uncompressed video, power, stereo audio and RS-232 control over a single CAT 5e/6 cable running at lengths of up to 100 meters. Since it offers single-cable connectivity, this dramatically simplifies installation, camera set up and footprint requirements.

RovoCam is built around Sony’s 4K FCB-ER8300 Functional Camera Block featuring the back illuminated CMOS sensor technology and Sony image processing. The camera is encased in rugged and durable aluminum, and its small and light form factor allows simple mounting in a wide range of scenarios.

“There are a number of markets for RovoCam, from security, houses of worship to live events and stage rigging for concert capture and stadium applications,” explains AJA product manager Bryce Button. “Within the M&E space, the camera fits well and offers UltraHD/HD resolutions well suited for mocap capture, and camera B use within studio environments. It is not meant to be a primary narrative-type camera but is well suited for tight spaces and similar environments due to its compact size and all in one nature in terms of cabling.”

RovoRx-HDMI, the companion receiver unit, offers easy integration for RovoCam with an HDMI output, and all video/audio signals, power and control over HDBaseT. RovoCam is also compatible with select third-party receivers.

RovoCam will be available soon through AJA’s reseller network for a US MSRP of $2,495. RovoRX-HDMI will be available for a US MSRP of $495.

“Marrying our HDBaseT interface technology with Sony’s compact 4K camera delivers powerful camera acquisition with very simple single-cable setup and operation,” said Nick Rashby, president, AJA Video. “We’ve partnered closely with Sony for many years and RovoCam comes as the latest in a long line of collaborations with them.”

Here are some features of the RovoCam:
— HDBaseT interface supporting uncompressed video, stereo audio, control and power over a single CAT 5e/6 cable
— “4K” UltraHD and HD resolutions
— 1/2.3 type 8.9 megapixel back illuminated CMOS sensor
— Integrated zoom lens, 12x optical (20x with Super Resolution Zoom)
— Integrated image processor with extensive automatic and/or manual control
— Additional on-camera power and RS-232 connections for maximum flexibility
— Supports Sony VISCA camera control
— Stereo mic input suRovoRx-HDMIpporting PiP power
— Machined aluminum case with standard mounting options on each side
— Compatible with Sony’s SNCUNIHB/1 outdoor housing

Here are some features of the RovoRx-HDMI:
— HDBaseT receiver supporting video, stereo audio, control and power over a single CAT 5e/6 cable
— UltraHD and HD resolutions
— 1 x “4K” UltraHD/HD HDMI output
— 1 x RCA audio output
— 1 x USB for firmware updates and additional control
— 1 x RS-232 output

Why fast file transfers are critical to video production, post

By Katie Staveley

Accelerated file transfer software is not new. It’s been around for many years and has been used by the world’s largest media brands. For those teams of content producers, it has been a critical piece of their workflow architecture, but it wasn’t until recently that this kind of software has become more accessible to every size company, not just the largest. And just in time.

It goes without saying that the process of producing and delivering content is ever-evolving. New problems and, as a result, new solutions arise all the time. However, a few challenges in particular seem to define the modern media landscape, including support for a globally distributed team, continuous demand for high-resolution content and managing the cost of production.


These challenges can be thought of from many different angles, and likewise resolved in different ways. One aspect that is often overlooked is how organizations are moving their precious video content around as part of the pre-production, post and distribution phases of the workflow. The impact of distributed teams, higher resolution content and increasing costs are driving organizations of all sizes to rethink how they are moving content. Solutions that were once “good enough” to get the job done — like FTP or shipping physical media — are rapidly being replaced with purpose-built file transfer tools.

Here are some of the reasons why:

1. Distributed teams require a new approach
Bringing final content to market very rarely happens under one roof or in one location anymore. More and more teams of media professionals are working around the globe. Obviously, production teams work remotely when they are filming on location. And now, with the help of technology, media organizations can build distributed teams and get access to the talent they need regardless of where they’re located, giving them a competitive advantage. In order to make this work well, organizations need to consider implementing a fast file transfer solution that is not only accessible globally, but moves large files fast, especially when bandwidth speeds are less than optimal.

2. File sizes are growing
The demand for higher resolution content is driving innovation of production technology like cameras, audio equipment and software. While HD and even Ultra HD (UHD) content is becoming more mainstream, media professionals have to think about how their entire toolset is helping them meet those demands. High-resolution content means exponentially larger files sizes. Moving large files around within the prepro and post workflows, or distributing final content to clients, can be especially difficult when you don’t have the right tools in place. If your team is delivering HD or UHD content today, or plans to in the future, implementing a fast file transfer solution that will help you send content of any size without disrupting your business is no longer a nice-to-have. It’s business critical.

3. You can’t afford delays
When it comes to getting your files where they need to be, hope is not a strategy. The reality is that production will often finish up later than you hoped. Deadlines are hard and you still need to get your content out the door. Any number of factors can cause you to miss deadlines, but transferring content files shouldn’t be your biggest delay. You can’t afford slow transfer times, or even worse, interruptions that force you start the transfer all over again. Implementing a solution that gives you reliable, fast file transfer and predictability around when your files will arrive is a strategy. Not only will it enable your employees and partners to focus on producing the content, it will help you to create a positive experience for your customers whether they are reviewing pre-release content, or receiving the final cut.

4. Customer experience matters
Any time your customers are interacting with your brand they are forming an opinion of you. In today’s highly-competitive world, it’s imperative that you delight your customers with the content you’re producing and their experience working with you. Your file transfer solution is part of building that positive experience. The solution needs to be reliable and fast and not leave your customers disappointed because the file didn’t arrive when they expected; or make them feel frustrated because it was too painful to use. They should be able to focus on your content, not on how you’re delivering it to them — your solution should just work. It’s a necessary part of today’s media business to have a cost-efficient, low-maintenance way to send and share content that ensures a delightful customer experience.

5. Your business is growing
Moving digital video content has been part of the media business for over a decade, and there have been solutions that have worked well enough for many organizations. But when considering the rapid growth in file sizes, increased distribution of teams and the importance of customer experience, you’ll find that those solutions are not built to scale as your business grows. Planning for the future means finding a solution that has flexibility of deployment, is easy to manage and maintain, and the cost of expansion is proportional to your size. Growth is hard, but managing your file transfer tools doesn’t have to be.

Managing cost and keeping profit margins healthy is as imperative as always. Fortunately the days where every technology purchase requires significant capital investment are waning. The good news is that the availability of cloud-hosted solutions and other advancements have given rise to powerful solutions that are accessible to every size company. As a result, media professionals have affordable access to the technology they need to stay competitive without breaking the bank, which includes fast file transfer software. Investing today in the right solution will make a big impact on your business now and into the future.

Katie Staveley is VP of marketing at Signiant.

Six new ProHD LCD monitors from JVC

JVC is offering six new DT-X92 ProHD LCD monitors for on location and in the studio, including one with a dual nine-inch rack display. The DT-X92 monitors will replace corresponding DT-X91 models in the JVC ProHD monitor line-up.

The DT-X92HX2 features two nine-inch IPS LCD panels with embedded audio meter, scale markers, SDI timecode and customer-editable video title display.

Both monitors offer 1920×1200 resolution, 800:1 contrast and a 170-degree viewing angle. The DT-X92HX2 dual-monitor product offers 3G/HD/SD-SDI, HDMI and CVBS inputs, plus user-definable function keys and GPI control. Other features include zebra stripes, freeze frame and red/green/blue-only display.

Also available is the DT-X92H, a single nine-inch monitor with similar features as the dual-monitor product. Another new nine-inch monitor, the DT-X92F, adds an on-screen waveform, vector scope and RGB histogram. Both nine-inch monitors can be powered by DC or battery.

Rounding out the DT-X92 family are three new larger monitors — the DT-X16H (15.6-inch), DT-X21H (21.5-inch) and DT-X24H (23.8-inch) models — each with a full-HD resolution, 1920×1080 LCD panel. Powered by DC or battery, the monitors have HDMI, composite and two 3G/HD/SD-SDI inputs, plus 3.5mm audio out and 3G/HD/SD-SDI and HDMI loop outputs.

All DT-X92 models will be available this month. Here is pricing: DT-X16H, $1,850; DT-X21H, $1,950; DT-X24H, $2,450; DT-X92F, $1,950; DT-X92H, $1,650; and DT-X92HX2, $2,950.

New firmware and Atomos Shogun support for AJA’s CION camera

AJA has released version 1.2 firmware for its CION 4K/UltraHD and 2K/HD professional production cameras.

CION v.1.2 updates offer improved white balance performance for overexposed image portions; improved video levels with higher IRE values available for various EI, gamma and color correction combinations; additional gamma and color correction options for higher EI 800 and EI 1000 values; and new internal video gamma LUT for external monitoring of the “expanded 1” or “disabled” gamma selections when an external LUT device is not in use.

In addition, an automatic white-balance alarm notifies users if an image does not contain a sufficient value of white or grey to perform an appropriate white balance, which in turn triggers the software to revert to the unity setting. AJA has also added an interval record (timelapse) indicator for the superimposed monitoring overlay, and SMPTE or full RGB range values can now be selected for the main SDI outputs.

CION v.1.2 firmware is field-upgradeable and can be uploaded to the camera via a built-in Web interface with a standard Web browser. The free update is available for download from https://www.aja.com/en/products/cion#support.

In other CION camera news, the Atomos Shogun portable recorder now supports external recording of AJA Raw files captured by the CION camera. Atomos Shogun users can record CION’s AJA Raw files at 4K and UltraHD resolutions at up to 60fps.

Codex offering compact camera-to-post package Action CAM

London — Codex  will be at NAB 2014 with Action CAM, an ultra-compact, all-in-one, digital cinema camera and recording package for 2D and 3D stereo production — it is scheduled to ship this summer.

Codex Action CAM, designed as an action/POV camera for use on spots, television and film productions, is an high-definition shooting, capture, transcoding and data management solution for situations that need a small camera with low weight.

Codex Action CAM is capable of shooting RAW at up to 60fps and resolves the common Continue reading

Panasonic intros its first 4K cinema camera, more

New York — At its annual pre-NAB press conference, Panasonic gave a glimpse at some of the products they will be showing at NAB this year, including the company’s first 4K cinema camera.

The VariCam 35 features a new super 35mm MOS sensor for native 4096 (17:9) 4K images, and AVC-Ultra in multiple formats, including 4K, UHD, 2K and HD, and 4K Raw.

The 4K camera head is separate but dockable to the recording module. It’s expandable with Continue reading

HPA Tech Retreat Blog: A display made for humans

By Tom Coughlin

Indian Wells, California — At the 2014 Hollywood Post Alliance Retreat (http://hollywoodpostalliance.org), the session on “Better Pixels: Best Bang for the Buck” gave some interesting insights on how we can make better displays — displays made for humans. Continue reading

HPA Tech Retreat blog: 4K-ready content, fast production with dual content cameras

By Tom Coughlin

Indian Wells, California — Although current content distribution is at HD, it is clear that 4K distribution will be commonplace in just a few years. As a result, many content producers are capturing content in both HD formats and 4K formats.

As might be expected, this increases the total data rate needed to capture this dual format content as well as the resulting storage capacity requirements. The actual size of the total content package depends upon the 4K content format.

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Cinedeck supporting 4K with hardware, software offerings, adds HD delivery standards

New York – Cinedeck, which makes capture systems for digital cinema, broadcast and post, is offering new product and software releases supporting 4K production and HD delivery standards that are being adopted by major broadcasters.

With the new Cinedeck MX4K recorder and V.5 software release for its RX3G and MX recorders, Cinedeck reinforces its capability to keep editorial processes efficient by simultaneously capturing and creating edit-ready deliverables.

The Cinedeck MX4K features two channels of 4K YUV10 30fps recording from 4K and Ultra HD sources, including the Sony F55 camera, while simultaneously creating edit-ready HD master and proxy deliverables, plus streamable H.264s. Cinedeck MX4K also down-converts the 4K camera feeds in realtime for on-set HD monitoring.

The 4K, HD master and proxies are all simultaneously recorded to the MX4K’s embedded SSD drives, with edit-ready deliverables written to SAN for immediate access, and can be encoded to the full gamut of ProRes or Cineform profiles. Users can apply a variety of industry-standard or custom Look-Up-Tables (LUTs) to the Proxy, H.264, on-board display and HD outputs. Cinedeck will release RX3G and MX support for additional digital cameras, framerates, codecs and color spaces in the coming months via a string of software updates.

“Key differentiators of the Cinedeck 4K workflow, versus other recording options, lie in Cinedeck’s ability to simultaneously create HD master and proxy and streamable deliverables, while maintaining global file naming and metadata,” said Charles D’Autremont, founder and CEO of Cinedeck (www.cinedeck.com). “These capabilities are of great advantage in efficient content creation, as editors can begin their work immediately with the peace-of-mind that edits will seamlessly relink between offline and online processes.”

A prime feature of Cinedeck’s V.5 software release for the Cinedeck RX3G and MX, is the addition of the AS10/AS11-compliant acquisition and delivery standards — XDCAM HD Op1A, AVC Intra-100 Op1A and D-10 (IMX) Op1A.

These new codec/wrapper specifications are championed by the Advanced Media Workflow Association (AMWA) in the US, plus the UK’s Digital Production Partnership (DPP), and are being adopted by broadcasters worldwide.

Leveraged by Cinedeck RX3G and MX, these latest standards remove ambiguities during production and delivery processes, by including editorial and technical metadata, and ensure a consistent set of information for the processing, review and scheduling of programs. Cinedeck’s V.5 software release also includes enhanced Edit While Record, EDL and H.264 support features.

Cinedeck will show 4K on the Cinedeck MX, and showcase the new V.5 software, at the HPA Tech retreat in Palm Springs, 17-21 February.

Victory Studios produces and posts ‘Band in Seattle’

By Randi Altman

Seattle — Conrad Denke has been in this business a long time. He is founder of Seattle and LA-based Victory Studios (http://www.victorystudios.com), an early adopter and pioneer in HD production and post.

Since the introduction and implementation of HD, the industry has changed, and Denke and Victory Studios have changed along with it, now providing script-to-screen Continue reading

Panasonic’s LCD 4K/2K/HD monitor for cinema production available this month

Newark, New Jersey — Panasonic’s new BT-4LH310, a 31-inch 4096×2160 resolution LCD monitor for 4K/2K monitoring in the field, in an edit room or on set, is shipping this month with a suggested list price of $28K.

Other key applications for the 4LH310 include use in a video village for live viewing of 4K cameras and graphic devices, as well as of 4K or HD dailies. The 4LH310 is a good fit for post facilities to accept as well, says Panasonic (www.panasonic.com/broadcast), allowing them to take on more 4K work, including editing, screenings and dailies, since this 4K monitor offers an excellent size-to-price value, in contrast to using a much larger, more expensive 4K projector.

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