Advanced Systems Group

Here’s a fun video wrap-up of NAB 2012.

Ross Video has developed a new system so broadcasters can get social media under control. The suite of tools is called Inception, and it will be demonstrated at the 2012 NAB Show.

Basically, Inception uses a Web-based GUI to create an editorial workflow to create content and publish it to various social networking sites. Editorial, promotions, and production can work together to transform broadcast content into Web content and manage online messaging.

Best of all, it’s a complete end-to-end solution. After you create a story, you edit the piece in a format-specific editor for Facebook, Twitter, YouTube, etc. The piece can then be submitted for approval, reviewed and approved, and then published immediately or at a scheduled time to correspond with your live newscast.

A lot of broadcasters are going to “like” this.

Ross Video is in Booth N3807 at the show, which runs April 16-20 at the Las Vegas Convention Center.

Blackmagic Design news from NAB:

DaVinci Resolve 9

The new DaVinci Resolve 9 features a completely redesigned user interface. The new user interface has been designed to be extremely fast to use and to eliminate any unnecessary clicks and settings to get working fast. You can now get a job running in three clicks, one to log in, one to drop media into the project, and the next to grade! It’s really amazing and it’s hard to describe so you really need to see it! It is now a true, modern, multi-platform tool. It’s just as powerful, but also nicer to use.
 
DaVinci Resolve 9 will ship in July as a free update for all users on Mac, Windows and Linux, and will also be available as the free Resolve Lite model.

Get more info here.

Blackmagic Cinema Camera

The Blackmagic Cinema Camera includes a super wide 13 stops of dynamic range, large 2.5K sensor, integrated SSD recorder that has the bandwidth to capture CinemaDNG RAW, ProRes and DNxHD files, integrated capacitive touchscreen LCD for direct metadata entry, standard jack audio connectors, refrigerated sensor and it’s fully compatible with EF and ZF mount lenses.

The Blackmagic Cinema Camera also includes SDI and Thunderbolt connectors and it comes with a full copy of DaVinci Resolve and UltraScope software. Imagine plugging in your laptop for on set grading and scopes!

The 13 stops of dynamic range is one of the most important reasons why this camera looks like film. Often people focus on more pixels, but that is just a larger video image. The real way to get film quality is to capture a wide contrast range to retain more detail in the black and white levels of the image. Then once you color grade the images, it looks amazing! Combined with amazing EF and ZF lenses, the result is a true film look!

Of course the quality is killed if you compress the images when recording them, so there is a built-in SSD recorder. That means you get the recording speed you need to record the full 2.5K RAW sensor data into completely uncompressed CinemaDNG files. This means you get all the detail and quality of the sensor.

No files on this camera are custom in any way and this is the first camera that’s designed to make the whole post production process simple. It records into CinemaDNG format for RAW files, and DNxHD or ProRes for HD resolution files compatible with Avid Media Composer and Apple Final Cut Pro.

You can play back all recorded files on the LCD, and there is a built-in microphone and speaker for reviewing audio. Of course you will want to plug in high quality audio into the standard jack connectors and the audio is always recorded uncompressed for highest quality.

The integrated LCD has a touchscreen and when tapped, a window called the “slate” appears where you can type in shot information just like typing on a smartphone. This is then recorded into the file as metadata in the Final Cut Pro X and DaVinci Resolve format. Common data like shot number can auto increment to save time.

You can also change camera settings on this touch LCD, such as frame rate, shutter angle, color temperature, dynamic range, focus assist settings and more. The SDI output also has overlays showing you all the camera data when monitoring on set, and even the same data when playing back recorded files!

The design is machined from a solid block of aluminum and looks amazing. It’s strong, very compact and designed to be easily hand held. I

Here are some test clips form John Brawley. Remember to select HD when viewing them!

The camera will sell for $2,995. Shipping is expected in July.

Get more info here.

Coming Soon. Very Soon:

KiPro Quad

4K Workflow Hub

Compact and powerful 4K recording and monitoring.

The Ki Pro Quad, is a special “NAB Sneak Peak”, is a solid state video recorder that, when paired with new high-resolution cameras, becomes the hub of breakthrough new 4K workflows. Ki Pro Quad brings AJA’s lens-to-post workflows to HD 4:4:4, 2K, and 4K resolutions! Learn more about Ki Pro Quad. Watch the video.

KiPro Rack

The deck for new File-based workflows

1RU 10-bit 4:2:2 Disk Recorder

The Ki Pro Rack is a space-saving 1RU form factor with the familiar Ki Pro user interface. It is designed for file-based workflows, supporting both Apple ProRes 422 and Avid DNxHD codecs. The Ki Pro Rack is available now for US MSRP $3995. Read more about the Ki Pro Rack.

T-Tap

Tap the power of Thunderbolt.

10-bit HDMI and SDI Video Output and Monitoring

AJA is also introducing the T-TAP, a device designed for laptop editors that need external monitoring. The T-TAP provides high-quality HD/SD-SDI and HDMI output from any Thunderbolt™-enabled computer. The T-TAP will be available soon for US MSRP $249. Read more about T-TAP.

Yes, it is.

• Easier to use.
• Mac-inspired user interface.
• Connected editing and effects.
• Lower system requireents.
• Price: $3495 USD

Coming this fall.

Amazing.

See Smoke online at NAB 2012.

See Walter Biscardi’s review.

Get more info and sign up for a pre-release trial here.

Back in February, AJA Video Systems released v3.0 firmware for its Ki Pro and Ki Pro Mini 10-bit 4:2:2 flash disc recorders. You should be able to explore all the improvements at the 2012 NAB Show.

Among the new features, both units can now burn time code and transport state into the video signal, and there’s even a window burn option for SDI. If there is video input loss, a new continuous recording option will generate a status change video frame, then automatically begin recording again when a valid video signal returns. And the Ki Pro has added LANC support, so camera operators can control recording via LANC-based controllers and LANC-enabled cameras.

The v3.0 firmware also adds some data transfer options, additional RS-422 functionality in post, and device setting presets for easier setup for both models. Lots of nice upgrades – and they are free for current customers.

AJA Video Systems is in Booth SL3305 at the show, which runs April 16-20 at the Las Vegas Convention Center.

A few years ago, FOR-A introduced the compact, cost-effective 1 M/E HVS-300HS video mixer. Then came a 1.5 M/E version, the HVS-350HS. At the 2012 NAB Show, the company will debut the HVS-390HS, which is available in 1 M/E and 2 M/E versions.

Larger than the previous models, the HVS-390HS comes standard with 16 HD/SD-SDI inputs and nine outputs (including an HDMI output), and it can be expanded to 24 inputs and 13 outputs. The switcher has built-in resizing engines on four inputs, so HD, SD, and PC sources can be mixed within the same production. Plus, it’s loaded with event and sequence memories, dual output multi-view, four still stores, two chroma keyers, four keyers per M/E, two 3D DVEs per M/E, and more 2D and 3D wipe patterns than you’ll ever use.

FOR-A is in Booth C5219 at the show, which runs April 16-20 at the Las Vegas Convention Center.

The forecast calls for cloud coverage with a very strong chance for collaboration for broadcasters.

OK, that was terrible play on words, but there is no denying that cloud-based services are continuing to grow for the broadcast market. In fact, Primestream has joined the move to the cloud, expanding its B4M FORK modular software suite a new client/server, cloud-based application, FORK Xchange Suite, which will be unveiled next month at NAB.

FORK Xchange Suite provides broadcasters with a faster, easier way to work together in a collaborative environment. It integrates with FORK Production Server and provides instant access to media on any PC, Mac, or iOS device. You can browse, add metadata and markers, transfer media to and from multiple remote servers, even trigger FORK action scripts.

Many of you are familiar with FORK from last month’s “Leap Into Your Asset Management” webinar, when we worked with B4M to discuss workflows for media asset management, editing, social media publishing, archiving, and cloud production. FORK is already deployed in more than 300 broadcast operations across 40 countries. By integrating the cloud into its services, FORK Xchange Suite promises to open new possibilities for sharing content and expanding FORK’s workflow automation and MAM capabilities.

B4M/Primestream is in Booth SL6605 at the 2012 NAB Show, which runs April 16-20 at the Las Vegas Convention Center.

Looks like the NAB deals have already started. Through June 30, 2012, Panasonic is offering ProPresenter 5.0 graphics and titling software free to customers who purchase one of its production switchers.

Five models are eligible: the new AV-HS410 nine-input “smart” switcher with built-in high resolution LCD screen; AV-HS400A multi-format HD/SD all-in-one switcher that supports up to eight inputs; AW-HS50 sub-compact, five-input unit for mobile productions and smaller AV setups; AV-HS450 16-input switcher with upconversion on four inputs and dual picture-in-picture display; and the AG-HMX100 digital AV mixer, which features a built-in multi-viewer display and 3D support.

ProPresenter, generally known as the de facto standard for video graphics and lyric presentation in the worship market, has been gaining ground in corporate, educational, and staging applications. Version 5.0 for Mac was released last month, and the PC version is expected this spring.

Panasonic is in Booth C3607 at the 2012 NAB Show, which runs April 16-20 at the Las Vegas Convention Center.

When: Wednesday, April 4, 2012 at 10 AM Pacific

Register now, free!

 
 
Join ASG and Harmonic for an interactive webinar where we’ll discuss:
 
-          How high-performance shared storage needs to be at the heart of file-based workflows.
-          How Omneon MediaGrid provides the best performance, at a price that’s surprisingly easy on your budget.
-          How you can get the performance of SAN – over 1GB/s to a single client – with the simplicity of NAS.
-          How some of the world’s leading, most innovative media companies gain competitive advantage with Omneon MediaGrid.
-          Why it’s important that your storage system is optimized for the unique requirements of media workflows.
 

Register here!

Register now for the Autodesk Virtual Event to learn about the newest Autodesk software, Autodesk Suites and more. Special guests include Autodesk executives and Technical Evangelist Lynn Allen.  View special presentations for industry experts on known industry challenges and how Autodesk solutions can help solve them.

Reserve your space today for this FREE online event — you won’t want to miss it.

Ann Marie Cumming, NAB Vice President of Communications, discusses the educational opportunities at the 2012 NAB Show.

Ann Marie Cumming, NAB Vice President of Communications, explains why it’s important to plan ahead and maximize your time at the NAB Show.

Ann Marie Cumming, NAB Vice President of Communications, discusses some of the speakers from the 2011 NAB Show and looks forward to some of this year’s headliners.

See Part 1 of this series here.

See Part 2 of this series here.

By Dave Van Hoy

Did you choose the best shared storage solution for your workflow? Are you sure? The most difficult storage problem to resolve occurs when a facility has already invested in the wrong product but wants to make it work.

When it comes to post-production environments, which are notorious for demanding specifications, trying to repurpose the wrong storage product is painful in the best of cases, impossible in the worst. Once, we were brought in to evaluate a corporate video operation where the IT department didn’t understand the speed and bandwidth requirements of real-time editing.

Before they consulted us, they spent several hundreds of thousands of dollars and purchased a storage system that was not capable of playing back a single real-time stream of HD video in the CODEC and resolution required for a FCP workstation! There was nothing we could do except recommend a new system.

It was not a happy meeting.

I can’t emphasize enough the importance of research – know which products work with each other, as well as how individual products will integrate into their facility’s workflow – before products are purchased.

See Part 1 of this series here.

By Dave Van Hoy

What’s your best option for shared storage, storage area network (SAN) or network attached storage (NAS)? Initial equipment costs are similar, but NAS systems generally have minimal (if any) additional user costs. Motion graphics and other uncompressed workflows demand SAN performance, but SAN systems have a relatively high cost per user because of seat licenses.

For low-bandwidth applications, such as offline editing or render farms for animation and SFX projects, NAS is a very viable option. Even “traditional” video editing – including HD video – is no longer considered a high-bandwidth activity.

And the rules may be changing. Some NAS-based products are being developed for post applications, most notably Omneon’s MediaGrid. MediaGrid has been designed to act more like clustered storage, and has client software designed to help alleviate the overhead and bandwidth constraints of a standard NAS. 

As you’d suspect, the tradeoff is cost. In comparison to some other NAS systems, MediaGrid is expensive. However, if you have a high enough number of edit seats – 10 or more, by our estimates – it can be a worthwhile expenditure because of a lower cost per seat for deployment.

While cost is always a consideration, we find ourselves counseling clients and potential clients more about workflow and the integration of tools facilitated by shared storage. Incompatibility between systems reduces productivity and invites aggravation.

For example, if you need a sophisticated finishing product and your primary editing tool is Final Cut Pro, make sure your new finishing tool can read FCP projects and CODECs (Smoke for Mac OS X, for example). If you have an Avid Media Composer shop, it may make more sense to select a product that works directly in an Avid world. Believe me, trying to import an Avid project into a Quantel system – and then actually work with it – is not a particularly easy experience.

See Part 3 here.

Join us for a free webinar on Leap Day, February 29, 2012 at 10 AM Pacific.

This webinar will cover the how-to of managing operations from anywhere of end-to-end workflows for media asset management, editing, social media publishing, archiving and cloud production.  Get to know the proven FORK Suite of modules from the Content Navigator, Proxy Editor, Archiving and Xchange Suite.

Get more information and register here.

By Dave Van Hoy

Before today’s file-based workflows, a post house would produce a master, maybe record a few dubs, and hand back the raw footage with an EDL to the client. Video footage was completely transient. Now, however, the post environment is much different, and virtually all post facilities (even some one-man operations) need some sort of shared storage system.

These days, you have two general options for shared storage: storage area network (SAN) or network attached storage (NAS). SANs are fast – very fast – and have the least limitations on their users in terms of the quality of the video being accessed and edited. Of course, if you want the best, it has a cost. If you have a large number of users (or as you add users), the cost per user can be relatively high. Apple’s Xsan, for example, comes at  an installed cost of about $2,500 per seat.

In contrast, NAS systems have less available bandwidth for each seat, requiring more compressed workflows. However, the cost per seat is very low; in fact, beyond the cost of storage and switching infrastructure, which is generally lower for NAS systems than for SANs, NAS might not have any additional cost for each user.

Whether you choose a SAN or high performance NAS, the initial costs are not that different – you have to pay for storage and a switching infrastructure for either system. The incremental price goes up with SANs as you start adding seats. Despite the additional costs, most post houses that need to handle motion graphics, animations, green screen work, and uncompressed workflows don’t really have a choice. They need the speed of a SAN.

See Part 2 here.

See Part 3 here.