Articles tagged #HDR
Atomos launches new Shinobi SDI is a 5" Monitor supporting both HDMI and SDI inputs
Atomos Shinobi SDI is a lightweight HDR field monitor for the video professional who needs the flexibility of both HDMI and SDI camera connectivity. Connect 4K HDMI for HDR viewing or SDI for HD-SDI loop out. Run cables between Shinobi SDIs up to 100m without degradation of image allowing directors, crew and clients to see what the camera operator is seeing in stunning detail. Shinobi SDI's high brightness 1000nit 5-inch monitor lets crew members preview and see images exactly as intended in any lighting condition, in SDR or HDR. Shinobi SDI is the ultimate monitoring tool in your video production arsenal that won’t break the bank. Product Features of the Atomos Shinobi 5” SuperAtom IPS LCD • Stunning 1000nit calibrated anti-reflection, anti-fingerprint AtomHDR screen for clear daylight viewing with 10+ stops dynamic range • Punch in zoom with 4:1, 2:1 & 1:1 • 1000Nits / cdm2 HDR / Daylight viewable • 427 PPI - even higher than Apple's Retina Display • Calibrated out of the box with support with Xrite Calibration • 10bit Inputs and Image processing • 100% of Rec709 calibratable display Inputs • 1.4b HDMI input • 1 x HD-SDI 1 3G/1.5G • Loop multiple Shinobi SDIs from HD SDI out to SDI devices like camcorders, switches and control rooms. On camera monitor for Photo and Video • Run for 5 hrs on a 5700mAh battery • AtomOS 10 – intuitive controls system • AtomHDR for log to HDR processing • 3D LUTs for customer creative LOOKs Download Full Spec Sheet HereAtomos-ShinobiSDI_Infosheet-March2019 To view pricing information or to put in your pre-order for this product click here to see the Atomos Shinobi in our online store
AJA Video Systems get serious about Colour, HDR and ST2110 at NAB2018
KONA HDMI, KONA 1 and Desktop Software v14.2AJA Video Systems unveiled two new KONA cards, and announced Desktop Software v14.2. KONA HDMI is a PCIe card for multi-channel HD and single-channel 4K HDMI capture for live production, streaming, gaming, VR and post production, while KONA 1 is a PCIe card for single-channel HD/SD 3G-SDI capture/playback. Desktop Software v14.2 adds support for KONA 1 and KONA HDMI, plus new improvements for AJA KONA, Io and T-TAP™ products. KONA HDMI A powerful HDMI video capture solution, KONA HDMI supports a range of workflows, including live streaming, events, production, broadcast, editorial, VFX, vlogging, video game capture/streaming and more. KONA HDMI is highly flexible, designed for four simultaneous channels of HD capture with popular streaming and switching applications including Telestream Wirecast® and vMix. Additionally, KONA HDMI uniquely offers capture of one channel of UltraHD up to 60p over HDMI 2.0 using AJA Control Room software for file compatibility with most NLE and effects packages. It is also compatible with other popular third-party solutions for live streaming, projection mapping and VR workflows. Developers can take advantage of the platform to build multi-channel HDMI ingest systems and leverage VL42 compatibility on Linux. Features include: four full size HDMI ports; the ability to easily switch between one channel of UltraHD, or four channels of 2K/HD; and embedded HDMI audio in, up to eight embedded channels per input. KONA 1 Designed for broadcast, post production and ProAV, as well as OEM Developers, KONA 1 is a robust, cost efficient single-channel 3G-SDI 2K/HD 60p I/O PCIe card. KONA 1 offers serial control and reference/LTC, and features standard application plug-ins, as well as AJA SDK support. KONA 1 supports 3G-SDI capture, monitoring and/or playback with software applications from AJA, Adobe®, Avid®, Apple®, Telestream and more. KONA 1 enables simultaneous monitoring during capture (pass-through) and includes: full size SDI ports supporting 3G-SDI formats, embedded 16-channel SDI audio in/out, Genlock with reference/ LTC input and RS-422. Desktop Software v14.2 Desktop Software v14.2 introduces support for KONA HDMI and KONA 1, in addition to a new SMPTE ST 2110 IP video mode for KONA IP with support for AJA Control Room, Adobe Premiere® Pro CC, part of the Adobe Creative Cloud, and Avid Media Composer®. The free software update also brings 10GigE support for 2K/HD video and audio over IP (uncompressed SMPTE 2022-6/7) to the new Thunderbolt™ 3-equipped Io IP and Avid DNxIP, as well as additional enhancements to other KONA, Io and T-TAP products, including HDR capture with Io 4K Plus. Io 4K Plus and DNxIV users also benefit from a new feature allowing all eight analog audio channels to be configured for either output, input or a 4-In/4-Out mode for full 7.1 ingest/monitoring, or I/O for stereo plus VO and discrete tracks.
“Speed, compatibility and reliability are key to delivering high quality video I/O for our customers. KONA HDMI and KONA 1 give video professionals and enthusiasts new options to work more efficiently using their favorite tools, and with the reliability and support AJA products offer,” shared Nick Rashby, President, AJA Video Systems.KONA HDMI will be available June 2018, KONA 1 will be available May 2018 and Desktop Software v14.2 will also be available May 2018 as a free download from AJA’s support page.
New Solutions Supporting SMPTE ST 2110AJA Video Systems revealed the new IPR-10G-HDMI Mini-Converter, which converts SMPTE ST 2110 IP video/audio to HDMI. This new Mini-Converter allows broadcast, production, post and ProAV professionals to output SMPTE ST 2110 video/audio to HDMI monitors. AJA also introduced SMPTE ST 2110 support for its KONA IP via free Desktop Software v14.2.
[quote]“SMPTE ST 2110 is positioned to drive IP video adoption forward, and AJA is committed to delivering tools that help bridge IP with existing technologies,” said Nick Rashby, President, AJA Video Systems. “IPR-10G-HDMI and KONA IP, with SMPTE 2110 support, allow facilities to take advantage of the many benefits ST 2110 offers for uncompressed HD video and audio over IP, while getting the most out of the gear they already have in edit bays, OB trucks, control rooms and other environments.”[/quote]IPR-10G-HDMI The first in AJA’s new 10GigE IP Mini-Converter line, IPR-10G-HDMI provides monitoring of HD SMPTE ST 2110 signals via HDMI. It receives ST 2110 over 10GigE connectivity, formats the data for output on a full-size HDMI interface, and the associated audio from the video stream is extracted, synchronized and embedded into the HDMI interface and also output on an analog RCA interface. Key feature highlights include:
- SMPTE ST 2110 audio, video receiver
- Rugged, fanless design
- 1x 10GigE SFP+ cage for media LAN [with status light]
- 1x 1GigE RJ45 socket for control LAN [with status light]
- Dedicated HDMI receiver with full size HDMI 1.4b video port
- Support for 1080p 60, YCbCr 4:2:2
- Full 10-bit pixel processing pipeline
- Embedded HDMI audio output (up to eight channels)
- 2x RCA analog audio output
- Mini-USB port for quick initial network configuration with AJA eMini-Setup software
- Complete control interface on any web browser from a built-in webserver
- Customizable control with AJA REST API
- 5-year international warranty and support
NEW KUMO 3232-12G and KUMO 1616-12G RoutersAJA Video Systems introduced KUMO 3232-12G and KUMO 1616-12G, two new compact 12G-SDI routers. KUMO 3232-12G offers 32x 12G-SDI inputs and 32x 12G-SDI outputs, and the KUMO 1616-12G offers 16x 12G-SDI inputs and 16x 12G-SDI outputs. Designed for use in broadcast, production and ProAV environments, the new routers support large format resolutions, and high frame rate (HFR) and deep color formats, while reducing cable runs when transporting 4K/UltraHD over SDI. The routers offer network-based and/or physical control, and mirror the compact physical form of AJA’s production-proven KUMO 3232 and KUMO 1616 routers, adding a new USB port for configuring IP addresses via AJA’s eMini-Setup software. Multi-port Gang-routing also means the new 12G-SDI models are 8K ready. Key feature highlights include:
- 12G-SDI inputs and outputs for up to 4K/UltraHD support at 60p
- Small, portable 2RU (3232) and 1RU (1616) form factors
- Single cable support for streamlined 4K/UltraHD signal routing
- Redundant power supply option
- Configure and save up to eight salvos per router
- Auto re-clocking SDI rates: 270 Mbps /1.483/1.485/2.967/2.970/5.934/5.940/ 11.868/11.880 Gbps
- Support for AJA KUMO Control Panels (hardware, with direct connect or networked)
- USB port to easily configure the router IP address and simplify initial network configurations
- Embedded web server for remote control on any standard web browser
- 5-year warranty and support
“4K/UltraHD, HFR and deep color workflows have introduced new challenges for professionals and facilities by requiring more bandwidth, so we’ve expanded our line of KUMO routers to the latest 12G-SDI standard,” shared Nick Rashby, President, AJA Video Systems. “KUMO 3232-12G and KUMO 1616-12G pack the throughput and single cable simplicity of 12G-SDI into a compact router with a very high-density for 4K/UltraHD sources and destinations.”KUMO 3232-12G will be available July 2018
FS-HDR v2.5 Firmware UpdateFS-HDR improvements that streamline live HDR production AJA Video Systems has announced v2.5 firmware with new feature enhancements for the company’s FS-HDR real time High Dynamic Range (HDR) and Wide Color Gamut (WCG) converter/frame synchronizer with Colorfront Engine™ video processing. The company also released new single and multi-mode fiber SFP options for FS-HDR and FS4. v2.5 firmware enhances the Colorfront Engine transform algorithm with support for ITU BT.2408-0 Operational Practices in HDR Television. Additionally, the FS-HDR now supports a simultaneous 4K/UltraHD and 2K/HD output mode with independent SDR/HDR controls. Newly integrated BBC Hybrid Log Gamma (HLG) Look Up Tables (LUTs) provide basic, mathematical HDR transforms. Infoframe generation on the HDMI monitor output provides an easy, cost-efficient solution for local monitoring on HDR-capable displays. The release will also integrate new standardized HDR test patterns. Finally, new Tangent Element Kb panel support for remote parameter control enables real-time adjustment control over FS-HDR’s key conversion parameters. FS-HDR v2.5 feature enhancements include:
- Colorfront Engine support for ITU BT.2408-0 Operational Practices in HDR Television Production
- Simultaneous 4K/UltraHD and 2K/HD/SD dual output mode: In single-channel mode with a 4K/UltraHD input and 4K/UltraHD output, configure the SDI monitor output for SDR/BT.709, PQ/BT.2020, HLG/BT.2020 or Sony S-Log3 S-Gamut3, with these output formats and frame rates independent of the main output:
- 2K: 2048 x 1080p up to 60p
- HD: 1920 x 1080p up to 60p; 1920 x 1080PsF up to 30p; 1920x1080i 50 and 59.94; 1280x720p up to 60p
- SD: 625i 50; 525i 59.94
- BBC HLG LUTs
- Support for HLG HDR dynamic range mapping per ITU BT.2408-0
- SDR, PQ, and Sony S-Log3 to HLG
- HLG to SDR and PQ
- Colorimetry: BT.709 and BT.2020
- HDMI HDR Infoframe generation: Locally monitor HDR content on HDMI 2.0 HDR televisions or monitors. When an output is configured for PQ or HLG, FS-HDR will signal the selected HDR output format to the HDMI display.
- HDR Test Patterns: BT.2111-0 Color Bars and BT.814-3 Pluge
- Support for third party Tangent Element Kb knob-based controller for remote parameter controls
- FIBERLC-1RX-12G SFP 12G-SDI Single Fiber LC Receiver Single Mode 1310nm
- FIBERLC-1TX-12G SFP 12G-SDI Single Fiber LC Transmitter Single Mode 1310nm
- FIBERLC-1RX-MM SFP Single Fiber LC Receiver Multi-Mode 850nm
- FIBERLC-1TX-MM SFP Single Fiber LC Transmitter Multi-Mode 850nm
- FIBERLC-2RX-MM SFP Dual Fiber LC Receiver Multi-Mode 850nm
- FIBERLC-2TX-MM SFP Dual Fiber LC Transmitter Multi-Mode 850nm
AJA Adds Avid DNxHR Support to Ki Pro Ultra and Ki Pro Ultra Plus with v3.0 FirmwareAJA Video Systems today announced v3.0 firmware for Ki Pro Ultra and Ki Pro Ultra Plus, adding Avid® DNxHR codec support to the file-based 4K/UltraHD/2K/HD recording and playback devices. Available soon as a free software download, v3.0 allows users to record above HD rasters with Avid codecs within a native .MXF wrapper, supporting Avid editors and .MXF workflows with more flexible options. Ki Pro Ultra and Ki Pro Ultra Plus already support Avid DNxHD codecs for 2K/HD resolutions. v3.0 firmware for Ki Pro Ultra and Ki Pro Ultra Plus will be available as a free download soon via: https://www.aja.com/support v3.0 firmware adds support for: Avid DNxHR codecs for UltraHD (23.98,24,25,29.97p) and 4K (23.98,24,25,29.97p):
- DNxHR HQX
- DNxHR SQ
- DNxHR LB
Five New openGear Cards with DashBoard SupportAJA Video Systems announced five new openGear-compatible video and audio rack cards, with support for Ross® Video DashBoard software for remote control and monitoring. Alongside the new cards, the company is also previewing a new next-generation OG-X openGear-compatible rackframe with expanded power capabilities at NAB 2018 Designed for use in compatible openGear 2RU frames, including AJA’s OG-3 2RU frame, the new cards combine the reliability and functionality of AJA Mini-Converters with the high-density openGear architecture. New DashBoard software support provides convenient and industry-standard configuration, monitoring and control options over a PC or a local network on Windows®, macOS® or Linux. New models include:OG-3G-AMA: 3G-SDI Analog Audio Embedder/Disembedder An eight-channel analog audio embedder/disembedder, OG-3G-AMA supports 3G-SDI input and output up to 1080p 60, and automatically detects and configures to the input video standard. It uses 3-pin terminal block connectors that can be set to perform audio input or output functionality. Analog audio levels and audio embedding/disembedding are selectable, with embedding/disembedding on a channel pair basis to pass 3G-SDI input audio or embed input analog audio from 3-pin terminal block connectors. OG-UDC: 3G-SDI Up, Down, Cross-Converter OG-UDC is a 10-bit broadcast quality up, down, cross-converter that bridges HD and SD video resolutions. It provides 3G-SDI input and output, HDMI output and two 3-pin terminal block connectors for balanced analog audio outputs. OG-4K2HD: 4K/UltraHD-SDI to 3G-SDI Down-Converter OG-4K2HD accepts four 3G-SDIs as a 4K/UltraHD input and downconverts to HD on both 3G-SDI and HDMI outputs simultaneously, using AJA’s high-quality scaling for cost-effective monitoring and conversion. Live 3G-SDI and HDMI outputs facilitate pristine HD images for set monitoring or live broadcasts. 4K2HD supports conversion of HFR 4K inputs at 50/60fps to HD outputs at 50/60fps. Configuration options allow HD images to be extracted from the 4K input for a 1:1 pixel image for 4K focus checks on HD displays. OG-Hi5-4K-Plus: 4K/Ultra 3G-SDI to HDMI 2.0 Converter OG-Hi5-4K-Plus offers 3G-SDI to HDMI 2.0 conversion, supporting HFR up to 60p for 4K/UltraHD. It provides pristine image fidelity from professional 4K HFR devices when monitoring to HDMI 2.0 displays. OG-Hi5-4K-Plus generates HDR metadata in accordance with HDMI v2.0a/CTA-861.3. The new card offers a simple monitoring connection from 4K devices from quad 3G-SDI or dual 3G-SDI to HDMI 2.0 displays, with two-sample interleave (2SI) or square division (Quadrant) source mapping. OG-HA5-4K: HDMI to 4K/Ultra 3G-SDI Converter Featuring four 3G-SDI outputs, OG-HA5-4K allows high quality conversion of HDMI video to 4K 3G-SDI, for professional workflow integration from DSLRs, mirrorless cameras, action cameras, or prosumer 4K video cameras.
NEW HELO v2.1 FirmwareUpdate adds support for closed captioning and HLS streaming, and new Chinese, Japanese and Korean language web UI options AJA Video Systems today announced v2.1 firmware for its standalone HELO H.264 streaming, recording and encoding device. The free update enables further customization of live streaming and recording workflows with HELO, and includes new features driven by customer feedback. HELO v2.1 firmware feature highlights include:
- Closed Captioning (CC) streaming from SDI input
- HLS streaming for direct interoperability with Apple® iPads® and other consumer devices
- Chinese, Japanese and Korean language support in HELO’s web UI
HDR IMAGE ANALYZERIntuitive new waveform, histogram, vectorscope and Nit level HDR monitoring solution AJA Video Systems had a tech preview of its new HDR Image Analyzer at NAB 2018. A waveform, histogram, vectorscope and Nit-level HDR monitoring solution, HDR Image Analyzer simplifies monitoring and analysis of 4K/UltraHD/2K/HD, HDR and WCG content in production, post, quality control (QC) and mastering. Combining AJA’s production-proven and powerful video and audio I/O with HDR analysis tools from Colorfront in a compact 1RU chassis, the HDR Image Analyzer offers a flexible solution for monitoring and analyzing HDR formats including PQ (Perceptual Quantizer), Hybrid Log Gamma (HLG) and Rec.2020 for 4K/UltraHD workflows. The new product is the second technology collaboration between AJA and Colorfront, following the successful integration of Colorfront Engine™ into AJA’s FS-HDR in 2017. Colorfront has exclusively licensed its Colorfront HDR Image Analyzer software to AJA for AJA’s HDR Image Analyzer. Key feature highlights include:
- • Precise, high quality UltraHD UI for native-resolution picture display • Advanced out of gamut and out of brightness detection with error intolerance • Support for SDR (Rec.709), ST2084/PQ and HLG analysis • CIE graph, Vectorscope, Waveform, Histogram • Out of gamut false color mode to easily spot out of gamut/out of brightness pixels • Data analyzer with pixel picker • Up to 4K/UltraHD 60p over 4x 3G-SDI inputs • SDI auto signal detection • File base error logging with timecode • Display and color processing look up table (LUT) support • Line mode to focus a region of interest onto a single horizontal or vertical line • Loop through output to broadcast monitors • Still store • Nit levels and phase metering • Built-in support for color spaces from ARRI, Canon, Panasonic, RED and Sony
Canon focuses on 4K UHD Broadcast Lenses at NAB2018 - oh! and the C700 FF
Canon launched of three new portable zoom 4K UHD broadcast lenses1: the CJ24ex7.5B, CJ18ex7.6B and CJ14ex4.3B. These new additions are compatible with 4K UHD broadcast cameras that have 2/3-inch sensors. Flanking the existing UHDxs series of 4K portable broadcast lenses that deliver excellent optical performance, these three lenses usher in the newly launched UHDgc series that will broaden 4K UHD shooting options. These new lenses provide 4K UHD imaging quality at a price point that is more accessible to the majority of the broadcast market. Additionally, the new lenses provide impressive UHD optical performance while maintaining a compact and lightweight design to meet a wide range of needs for video productions that include documentaries, sports, events and news coverage.
AJA Releases FS-HDR for Real Time HDR and WCG Conversion and Processing
AJA Video Systems released FS-HDR, a versatile 1RU, rack-mount universal converter/frame synchronizer for real time HDR transforms as well as 4K/HD up, down, cross-conversion. FS-HDR delivers breakthrough real time High Dynamic Range (HDR) and Wide Color Gamut (WCG) conversion and processing capabilities for 4K/UltraHD/2K/HD HDR workflows.
Canon Announces Its Newest Professional 4K HDR Reference Display Featuring Stable High-Luminance And 12G-SD1 Terminals
The Canon DP-V2411 4K HDR1 Reference Display, a 24-inch display that features stable high luminance and 12G-SDI terminals, ideal for use on-set in broadcasting vans, and in-studio needs.
The 3 most interesting ideas to come from attending AvidConnect 2017
Firstly, this is not an Avid press release! AvidConnect (the annual Avid Customer Association event) is in its fourth year, and while it is a way for Avid to show off some of their new offerings and partnerships, there has always been some really interesting discussions about the industry we work in, and where we are headed. This year was no exception, and I have put together some of my thoughts on what I have seen over the weekend, and how I see this affecting our future. Here are three key points I have taken from AvidConnect2017, feel free to comment!
Atomos Ninja Flame and Shogun Flame Ignites HDR & High Brightness in the Field.
In the same way that the original Atomos Shogun helped fast track the transition from HD to 4K filmmaking, Atomos are intent on delivering 4K HDR to everyone with the launch of the Shogun Flame and Ninja Flame. The Atomos Flame Series delivers the world’s most advanced 7” field monitor, accurately displaying 10 stops of the luminance detail of Log with 10 bit HDR Post Production color accuracy, for the first time in a field monitor. The AtomHDR engine not only resolves HDR brightness detail (dynamic range), with 10-bit color accuracy it also resolves 64 times more color information than traditional 8-bit panels. For Rec709 standard dynamic range scenes, the 1500nits brightness aids with outdoor shooting as does the upgraded continuous power management system that will keep you shooting longer in the field. Of course you also get the professional 4K/HD ProRes/DNxHR Recording, Playback and Editing that has made Atomos famous. Shogun Flame and Ninja Flame are available for sale in quantity week of March 28th, from the authorized Atomos reseller network. “HDR is simply amazing, it’s the next revolution for filmmaking, once again Atomos are first with the technical solution to make it quicker, easier and more affordable for filmmakers” said Atomos CEO and co-founder Jeromy Young, “Anyone that sees HDR, from content creators to consumers are immediately sold, - more life like shots and real world detail. Our job is to open up HDR to all filmmakers by removing the technical and affordability hurdles that might slow its progress.” The Flame series of monitor-recorders are equipped with the AtomHDR engine, utilising the power of the 1500nit panel in tandem with Atomos’ patent pending image processing to resolve the brightness detail of Log camera signals with the color accuracy of 10 bit HDR images mastered in post production. This means that the usual complications of exposing Log signals on a washed out image are eliminated – with AtomHDR you simply frame, expose, focus and shoot. All major camera makers log formats are supported - Sony, Canon, Panansonic, Arri, Red and JVC. The monitor itself is a calibrated 7” 1920x1200 325ppi IPS with upgraded 10-bit color accuracy, resolving 1.07 billion colors compared to the 16.7 million colors of traditional 8-bit panels. This all but eliminates the color branding seen on traditional panels and in tandem with AtomHDR lets you see images as you would with your own eyes. For existing SDR, Rec709 delivery or scenes that do not have the wide brightness variation required for HDR shooting, switch to traditional video mode (Rec709) and activate a Brightness slider that lets you take advantage of the impressive “Daylight Viewable” 1500nits of brightness emanating from the Flame units. This adds huge versatility for the Flame series – if you have scenes that call for HDR, activate the AtomHDR mode. If you don’t, switch to High Bright mode for outdoor monitoring hood free. Shogun and Ninja Flame have a rugged built in armour ensuring it is battle-ready for the field and also now inherits the Atomos patented continuous power system pioneered on our HD range. The hot-swappable dual battery system automatically swaps to the second battery when power is low, allowing hot swapping to new fresh batteries. This coupled with our new improved battery charger which is 3 times faster means that power is always taken care of. The addition of AtomHDR, the 1500nit brightness, 10-bit colour accuracy and Continuous power genuinely positions the Flame Series as the best 7” Field Monitors in the world, but as we know with Atomos they are much more than monitors alone, featuring advanced recording, playback and editing capability as well. Both units record 4K/HD direct from the sensor to 10-bit 4:2:2 Apple ProRes or AVID DNxHR/DNxHD onto affordable yet reliable SSD’s from the world’s leading media brands. They also feature on the fly 3:2 and 2:2 pulldown removal and advanced recording features such as Timelapse & Pre-roll. Playback with controls is possible on screen or out to larger monitors and you can even use the built-in focus, framing and exposure tools to judge the shot and then start tagging to make decision making in Post faster and easier.The Ninja Flame is a HDMI only model with all of the above features and ships with a host of accessories including a HRPC hard case, a snap-fast HDR sunhood, fast battery charger, control cable, 2 x NP-F750 4 cell batteries, USB 3 Docking Station, D-Tap Cable, 5 x Master Caddy Cases and a 12 V 3A AC-DC Power Adapter. The Shogun Flame is a HDMI & SDI model with bi-directional SDI/HDMI conversion, Raw to ProRes/DNxHR recording for select Sony and Canon cameras, balanced XLR audio input/output and LTC/Genlock connectivity. It features the same above accessories as well as the XLR breakout cable. Flame Series Key Features:
- With a Dynamic range to match that of a 10-bit camera LOG footage, AtomHDR monitors deliver the detail in highlights and shadows usually clipped on traditional monitors.
- A highly advanced field monitor even in non-HDR scenarios with 1500nits brightness for outdoor shooting, native full HD resolution and optional calibration to ensure natural LCD colour drift can be corrected over time.
- Record direct from the sensor in pristine 4K UHD (up to 30p) or record high frame rate HD (up to 120p)
- long with recording the high pixel density of 4K, the Ninja and Shogun Flame also record higher resolution 10-bit colour information and more precise yet efficient 4:2:2 colour encoding.
- Recording to Apple ProRes and AVID DNxHR visually lossless edit-ready codecs ensure you capture full individual frames like film, providing more flexibility and creativity in post. Can be delivered to any standard – never worry about having your footage technically rejected due to the format again.
- Ready for real-word conditions with built-in armour protection, dual battery hot-swappable continuous power system to ensure you always have power and a raft of included accessories including a new fast charger and snap-fast sun hood.
- Our patented hot-swappable dual battery system for continuous power is backed up with the included power accessories (2 x 4-cell batteries, D-Tap adaptor and blazingly fast battery charger)
- An arsenal of creative weapons including focus and exposure tools, 3D Custom Looks, Waveforms (LUMA and RGB) and Vector Scopes ensure you set the shot up perfectly every time.
- XLR audio via breakout cables for Shogun Flame or 3.5mm line level input with audio delay, level adjustment and dedicated audio meters with channel selection for Ninja Flame.
- We support affordable, readily available SSDs from the world’s most trusted media brands.
So what did Videocraft take away from the NAB Show in 2015?
While everyone has their own take on the show depending on what interests them, here is what our very own James Taylor (@VideocraftJames) took from NAB this year. 4K is everywhere now. This was absolutely the case, with pretty much every company having 4K logos on their gear. Obviously 4K has been around for a while now in digital cinema production, but is now a real option to now produce 4K for live television. I may be jaded and cynical, but walking between all of the stands I felt that 4K on big TV’s did not feel as ‘special’ as maybe I would have hoped. But with an exception: the new hope is not more pixels, but High Dynamic Range (HDR), also defined as a new standard, BT.2020.We have had image sensors for quite a while now with fantastic ability to handle dark areas and highlights in a RAW mode for later grading, but very simply it is about choosing what you want to throw away in post. The idea of HDR is that the performance of the imager can be more faithfully produced, and coupled with a wider colour gamut I had found this so much more impressive. The colour reproduction was so much better, and having the ability to see in to dark areas without the bright areas blowing out was a revelation to see on a domestic style screen. I would personally choose HDR images over ultimate resolution, but I suppose we get both. If we all have to go through the upheaval of changing everything to 4K, I feel that the extra pixels really did not add anything to experience if we are still constrained by the current 709 colour space used in HD systems. So, look out for HDR! Using IP infrastructure to replace traditional video cabling. I think that NAB 2015 could be defined as the year where IP infrastructure could be defined as a real thing, and all of the big companies had large amounts of new toys on their stands all vying to be the ‘new standard’, within the SMPTE ratified standards, if that makes sense! Right now, it is very much a product line for the top end of town, and I think that there will be a fair bit of pain and suffering over the next few years as everyone tries to establish their place on the market. I found it interesting that while I always thought that the idea was to be able to use standard (although high end) IT infrastructure, at this time I don’t think that that really is the case. When I look at what has happened in professional audio over the years, many standards have come and gone, and only now are we really starting to see some possibility of audio over IP systems talking together with the AES67 standard. It is absolutely the way of the future, and I am excited about it, but right now I do have total interoperability with my copper (or fibre) HD SDI cable which will go between any brand of equipment, but right now I don’t think I would be able to as easily achieve that on IP. We only have to look at the myriad of file types in post-production workflows now to imagine what our future could look like! The 8K Sideshow. The Japanese, driven by NHK are driving 8K demands, and while it is amazing at the data rates we are seeing, it does feel a very long way off when you live in a country with the bulk of free to air TV is being delivered in heavily compressed SD. It was such a pleasure to watch good-looking HD broadcasts over in the US, and I continued to marvel at what HD should look like, and lament what could have been for HD in Australia. It all feels like something that is being pushed on us so the TV manufacturers can make us buy new TV’s… I think also exactly the same reason why we need 4K! Amazing technology though that when you think in DSLR speak, these cameras are taking a 33 mega pixel still 60 times a second… Sony Optical Disc Archive. I wasn’t really intending to focus on a particular brand, but I suppose it is my opinion and I really liked it for a lot of things we do! We have been using (and will continue to use) LTO tape as our long term archive solution. I won’t go in to the whole reason why we go to tape, but suffice to say that if your archive is on a single hard drive, then it is not an archive! The Sony Optical Disk archive system has matured, and it has had some major new clients over the past year apparently. What we like about it is that we have an archive grade media system with random access, and that is a huge advantage. In conjunction with an archive system, such as Storage DNA, it really makes it possible to use an archive media as a nearline storage system without having to have another pile of hard drives just to park your media away from your really expensive online storage. Extra capacity is as easy as buying more cartridges, and you have media that is more stable than tape. I could go on about it for hours, but I really do see this as the ideal archive system for the needs of the Digital Cinema and TV industry. We will be pursuing this further once we get back to Australia, so stay tuned! They were the main things that I took from NAB this year, and I know that there were lots of other things out there that I didn’t even get time to look at! Enjoy!