Articles tagged #RECORDER
Articles tagged
#RECORDER

New Blackmagic Video Assist 12G

Blackmagic Design announced the new Blackmagic Video Assist 12G with two new models of the company's popular combined monitoring and recording solutions. These new models feature brighter HDR screens, built in scopes, upgraded batteries, 12G-SDI and much more. The new Blackmagic Video Assist 12G HDR adds professional monitoring and recording to any SDI or HDMI camera in all HD, Ultra HD, 2K and 4K DCI formats. The new improved design includes innovations such as brighter screens for HDR work, tally indicator, 4 built in scopes, enhanced focus assist features, 3D LUTs and native Blackmagic RAW recording from supported cameras. With 12G-SDI and HDMI 2.0 on both 5" and 7" models, customers get support for recording from virtually any device in all formats up to 2160p60. A brighter touch screen ensures a better view of their recording when shooting HDR digital film, or when shooting outdoors in sunlight. The new design also features upgraded batteries and supports two standard Sony L-Series batteries. This means Blackmagic Video Assist 12G is incredibly versatile and is the perfect solution for the next generation of digital cinema shoots, live production mastering, broadcast testing and measurement. There are two models of Blackmagic Video Assist 12G, with each model including an innovative touch screen user interface with deck controls, as well as a large screen to view recordings. The Blackmagic Video Assist 7" 12G model also includes 2 media slots, while both the 5" and 7" models include 12G-SDI for high frame rate Ultra HD, analog inputs for audio, USB-C external disk recording, plus a front panel speaker and side mounted headphone jack. Customers also get 2 rear battery slots for mounting Sony L-Series batteries, so customers have enough power for the brighter HDR screens and higher speed Ultra HD electronics. A 12v universal power supply is included for studio or on location use. Blackmagic Video Assist 12G HDR is an ideal upgrade for cameras, as it’s super bright 2500nit display is bigger than the tiny displays found on consumer cameras, plus users are also adding professional focus assist features and better quality file formats. Video Assist is also a great solution for professional cameras because customers can use it to upgrade older broadcast cameras to modern file formats used on the latest editing software. No matter what editing software customers use, Video Assist lets customers support them all, as customers can record in Apple ProRes, Avid DNx and Blackmagic RAW. With both HDMI and 12G-SDI inputs customers can connect it to any consumer camera, broadcast camera or even DSLR cameras. Then, on supported cameras, customers can even upgrade to RAW style workflows with Blackmagic RAW. The innovative touchscreen LCD user interface provides incredible control. On screen, there are dedicated buttons for play, stop and record, plus a mini timeline for scrolling through their recordings. Customers can even image swipe to jog. The LCD includes a heads up display of timecode, video standard, media status as well as audio meters. Scopes can be enabled via the touch screen as well as focus and exposure assist. Plus customers can load and save 3D LUTs. Video Assist uses commonly available SD card media, so customers can record to flash memory cards that are easy to obtain. The files are small enough to allow long recordings on standard SD cards or the faster UHS-II cards. The larger Video Assist 12G 7" model even includes 2 SD card slots so customers can swap out any full cards even during recording, allowing infinite length recording. Standard SD cards or the faster UHS-II cards are perfect for broadcast because they are small, high speed and affordable. If recording to other media types is required, then the USB-C Expansion port lets customers plug in an external flash disk for recording. Imagine adding a Blackmagic MultiDock 10G for easy SSD compatibility with other recorders such as Blackmagic HyperDeck models. Customers even get on screen menus for managing external disks using the touch screen. Video Assist features a wide range of video and audio connections such as multi-rate 12G-SDI for SD, HD, and Ultra HD SDI devices. HDMI is included for HDMI cameras and monitoring to consumer televisions and video projectors. The 7 inch model features Mini XLR inputs which are provided for audio input from microphones and external audio mixers. Video Assist even includes a 12V DC power connection with locking power connector. Customers will be ready for the latest HDR workflows with support for the latest HDR standards and an extremely bright screen with a wide color gamut. Plus the high brightness screen makes outdoor shooting in bright sunlight possible. The built in scopes even change to HDR scopes when working in HDR formats. Files are tagged with the correct HDR information then SDI and HDMI inputs will also automatically detect HDR video standards. Static metadata PQ and HLG formats are handled according to the ST2084 standard. The bright LCD has a wider color gamut so it can handle both Rec. 2020 and Rec. 709 colorspaces. The built in Video Assist LCD color gamut can even handle 100% of the DCI-P3 format. Video Assist features full internal waveform monitoring so customers can ensure compliance to broadcast standards and it also works great as a portable waveform monitoring solution. The waveform display provides a traditional luminance (brightness) levels view of the video inputs or the playback signal. The vectorscope display allows customers to see the intensity of color at 100% SDI reference levels. Customers also get an RGB parade display which is ideal for color correction and checking for illegal levels. Histogram shows the distribution of white to black detail in their images and highlights or shadows clipping. The built in scopes can even be overlaid on live video, or as a small picture in picture view at the top right of the scope. The SDI and HDMI connections are multi-rate, so handle SD, HD, and Ultra HD. SD formats include NTSC and PAL. 720p HD standards include 720p50 and 59.94p. 1080i HD interlaced formats include 1080i50 and 59.94. 1080p HD formats include 1080p23.98, 24, 25, 29.97, 30, 50, 59.94 and 60p. Customers can even do 1080 PsF formats. Ultra HD is supported up to 2160p59.94. Customers can even record 2K and 4K DCI rates up to 25p for digital film work. Video Assist works with industry standard 17 and 33 point 3D LUT files, or customers can work with the built in LUTs such as Extended Video, Film to Video, Film to Rec.2020 and more. Video Assist records using standard open file formats so customers don’t have to waste time transcoding media. Recording works in industry standard 10-bit ProRes or DNx files in all formats and from all HDMI or SDI cameras, as well as 12-bit Blackmagic RAW when connected to supported cameras. Best of all media files work on all operating systems. Blackmagic RAW is a revolutionary new format designed to capture and preserve the quality of the sensor data from cameras. Video Assist supports Blackmagic RAW recording from popular cameras such as Panasonic EVA1 and Canon C300 MK II. This eliminates the problems with popular camera formats such as H.264, which are highly compressed resulting in noise and processing artifacts. It also saves camera settings as metadata so customers can set ISO, white balance and exposure, then override them later while editing, all without any loss of quality. Blackmagic RAW files are also small and fast to use making them easy to work with. Blackmagic Video Assist 12G includes a built in professional audio recorder thats much better quality than the audio quality found in most cameras, eliminating the need to carry around extra audio equipment. When working in SDI formats, customers can record 2, 4, 8 or 16 channels of audio in real time. For connecting microphones the Video Assist 7" model has two XLR analog audio inputs with phantom power that support the high definition audio sample rate of 192 kHz at uncompressed 16 and 24 bit per sample. Customers can monitor using on screen audio meters with user selectable VU or PPM ballistics. Multiple languages are fully supported so customers don't need to learn another language to use it. Support is included for English, Chinese, Japanese, Korean, Spanish, German, French, Russian, Italian, Portuguese and Turkish. The files from Blackmagic Video Assist 12G are common and are compatible with all operating systems or in most video software. Media can be formatted using ExFAT or HFS+ so customers can easily access the media on computers and access the files like regular disks. DaVinci Resolve is perfect for use with Video Assist because it features editing, color correction, audio post production and visual effects all in one software application. "The original Blackmagic Video Assist monitors and recorders were very popular and a fantastic way to upgrade older cameras, as well as for use in general broadcast areas of the television industry," said Grant Petty, Blackmagic Design CEO. "These new models are an incredible improvement and incorporate all the lessons we have learnt from our customers in Hollywood. They have brighter LCD screens, 12G-SDI, Blackmagic RAW, better focus assist tools, presets, 3D LUTS and much more! They are so nice and it’s very exciting!" Blackmagic Video Assist 12G Features • Supports live production, digital signage and archive use. • Modern design with fast to use touch screen controls. • Upgrades cameras to better monitoring and better record codecs. • Large LCD screen for with digital film style focus assist tools. • SD/USH-II card support for commonly available media. • Records direct to external USB-C media disks. • 12G-SDI and HDMI for recording in SD, HD and Ultra HD. • Advanced HDR support with bright 2500nits wide gamut LCD. • Built in scopes include waveform, vector, parade and histogram. • Latest Multi Rate 12G-SDI technology for SD, HD and Ultra HD. • 3D LUTs can be applied for both monitoring and recording. • Standard open file formats compatible with popular software. • Records Blackmagic RAW from supported third party cameras. • Professional multi channel digital and analog audio. • Localized for 11 popular international languages. • Works with popular NLE software such as DaVinci Resolve. Availability and Price Blackmagic Video Assist 12G will be available in September 2019 from AU$1,315

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Long record times or 32 channels of HD recording available on our new AJA KI-Pro Ultra Plus Recorders available to rent.

Single Channel Mode:

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Videocraft Review: Zoom F8 Field Recorder

Zoom have come to the party with a fully-fledged field recorder and mixer they have named the F8. I’m not entirely sure of the origin of the name but I am going to take a wild stab in the dark and remember it as F for field, and 8 for the number of microphone pre-amps. I expect a field recorder to be built to take a bit of punishment, and from the looks of it Zoom have approached the design of this unit with that in mind. It isn't quite as much of a tank as the Sound Devices equivalents, but given the price that can be excused. It is also lighter and more compact than the Sound Devices offerings. Let’s take a wander around the F8 and discuss the ins and outs, so to speak.  

LEFT SIDE

The unit has eight mic/line combo inputs, that are distributed four at a time on either side. XLR is for mic level signals, and 1/4" TRS for line level signals. Joining inputs 1-4 on the left side are 2 x SD/SDHC/SDXC slots, a Mini USB connection (to use the F8 as a card reader or audio interface) and a HIROSE 4-pin DC input for providing external power. This is a nice touch as it allows you to put a garden variety Anton Bauer V-Lock in the bottom of your bag and run the unit all day long.

RIGHT SIDE

All audio outputs are located on the right side of the box along with Inputs 5-8, and we get two main TA-3 outputs (Mini XLR connectors), one 1/4" headphone jack and a SUB OUT 1/2, combined on a 3.5m TRS connector. Don't worry about the Main Outs being on TA-3 connectors, the unit comes with a couple of TA-3 to full sized XLR breakout cables to cover you, should you need to go to a camera or other device that requires run of the mill XLR flavour.

BACK

Before I get to the front, I'll quickly touch on the back. There is a 12V DC-IN barrel connector to connect the supplied AC adaptor, a Kensington lock if you need to tie it down (a little counterintuitive for a field recorder), a battery slot which holds 8 x AA batteries, a block style MIC-IN connector for connecting any of Zoom’s microphone capsules, and normal video BNC connectors for Timecode IN and OUT. The timecode connectors are independent of one another, and the output allows you to use the F8 as the timecode master on set, provided your cameras have BNC type TC inputs.  

FRONT

The front panel provides just enough knobs and buttons to get the job done, and is very well thought out. The display has a high enough resolution for everything to be nice and legible (even to my computer damaged eyes), provides a nice big recording time readout, timecode counter (including TC source and frame rate) and battery status which includes a live voltage readout. These elements remain at the top of the screen until you dive into the menu. The large encoder next to the display allows you to navigate the menu, and when you are not in the menu it will allow you to scroll through various metering windows. Each input channel has a REC Arm button with their respective number on it, a post fader for managing input level, LED's for level metering and input state (red for record, orange for solo), and last but not least, a PFL button. The PFL button is by far my favourite feature. As soon as you press it, the display jumps into a sub menu dedicated to the channel settings of the specific channel you have just soloed. This is a massive time saver as far as setup goes, as you don't have to go digging around in menus to do simple everyday tasks such as engaging phantom power, high pass filters, limiters and setting pan. With one touch of a button, you can hear the relevant input front and centre, a couple of quick clicks and a twist of the input fader and you are ready to go. Press PFL again to clear the solo, and the display reverts back to your main metering. Excellent design and a big thumbs up! The front panel also provides a slate mic and slate switch, allowing you to verbalise a slate onto all tracks using the built in mic, or to stripe a reference tone. Slate tone can be momentary, or you can lock it on. The level and frequency are adjustable, however the unit defaults to -20dBFS and 1khz.  

ROUTING and MID-SIDE

The unit gives you a large range of routing options, and any of the inputs can be routed to any of the outputs, either pre or post fader. You also have the option to send the left and right mix output to the main or sub outs. The headphones have the same routing options with the addition of Mid-Side and Mono monitoring. The Main and Sub outs also feature frame delay and limiters. It is worth noting that Zoom have abbreviated Main and Sub as M and S in the routing menus, not to be confused with MS for mid-side. On the subject of mid-side, it provides the ability to decode MS inputs into stereo for recording purposes or allows you to monitor aforementioned MS sources as stereo if you want to keep them separate during record. You can also individually adjust the side level when the MS inputs are linked, giving you that extra level of control.  

RECORDING

The F8 has two SD/SDHC/SDXC card slots and you have a number of options when it comes to defining what each card will record. There is no option for overflow recording but given the price of SD cards these days, it is unlikely that feature will be required. If you want redundancy simply pop in two matching cards, set them both to the same recording setup, and the unit will name them in the same way so that they become duplicate copies. They have included Poly WAV recording which means you get one multichannel file with all ISO's, as opposed to individual mono or stereo files. This is handy to minimise the number of files created keep related tracks locked together. File protection is provided in the form of periodic file saving during record, just in case you lose power or accidentally remove the card. A 6 second pre-record buffer can be activated in case you are in an unpredictable environment, and you also have the option of using the dual channel REC feature to record two copies of the same input at different levels. This feature is only available for inputs 1-4 as it requires REC channels 5-8 to store the parallel recordings. As you would expect Broadcast Wave Form at 48khz and 24 bit is the default REC format. Sample rates go all they way up to 192khz without sacrificing any recording channels, and if you need long record times you can switch to MP3 format and record at bit rates of 128, 192 or 320kbps.  

METADATA and APP CONTROL

Metadata management is included and will allow you to predefine scene name, the mode of scene increments, track names, notes, and the take naming format. This is a must have if your recordings are going into a commercial post-production workflow. Metadata can be setup using the jog wheel on the front of the unit but as with any text entry of this type, it can be tedious. A nice touch is that the entry menus do have history, allowing you to recall a previously used scene name or note. The unit has been built with Bluetooth connectivity so that you can connect an iOS device, and they have put together a tidy little app to give you a range of control. Once I had set it up, I was hopping that I would be able to use it to predefine the metadata, however it wouldn't let me do it prior to recording. Once I had done some recording it allowed me to edit the metadata after the fact, however personally this is slightly less than preferable. This isn't a deal breaker, it just means that you need to be wary of the workflow. The app gives you similar control to what you have on the front panel of the unit, and some (but not all) of the menu controls. I have to give Zoom a tick of approval for the mixer window inside the app, if you are wanting to perform a stereo mix on the fly this is a much easier way to control it compared with using the menu data wheel on the front of the recorder.  

FINAL THOUGHTS

All in all this is a fantastic little field recorder at an exceptionally reasonable price (AUS RRP $2,149.00). It does everything an amateur or intermediate level sound recordist requires, and could also be used to record immersive audio for the up and coming VR content boom. Paired with a custom made Portabrace bag, it is comfortable and easy to operate. If you have been battling along with a handy recorder and want to step up the quality of your production audio but have been struggling to justify the cost of some of the professional options on the market, then you should take a good hard look at this unit, as it is the one for you. You can order the Zoom F8 from Videocraft: Product Code: FXR108 or click here to be redirected to the product in our online shop.        

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Videocraft provides NSCC with Hybrid Broadcast Production Facility

With a broadcast facility entering its twelfth year, it was clear to the team at the North Shore Christian Centre (NSCC) that an upgrade was well overdue. With weekly services and a half-hour TV program on TVS Channel 41 to produce, the facility was rapidly coming to its end of life - something NSCC Operational Pastor Ross Stewart turned to Videocraft for help with.
Stewart explained, “Our facility was over twelve years old and some of the equipment was almost thirty years old. We needed a major upgrade that would give us higher quality pictures for our live services and broadcast TV programme. We also wanted to go 16:9. As Videocraft specialises in these types of broadcast facilities and solutions we put together a tender and asked them for their advice.” Stewart met with Videocraft NSW state manager Andy Liell to discuss requirements, options and critically, budget. He continued, “We had a budget but it was one that required Videocraft to be creative and I’m delighted to say there were. We simply didn’t have the money to purchase all new equipment, so Andy put together an amazing deal based on a hybrid solution consisting of their best high quality rental equipment and some brand new kit.” The Videocraft solution included four Sony BVP-E30 SD triax camera chains and a Panasonic AV-HS450 vision switcher with Venitex Aux Bus control panels providing the NSCC with simple switching for two stage side screens independent of the broadcast feed. Stewart added, “The solution was a good one and the way Videocraft installed the switching console so we could overlay song lyrics over live video was particularly clever. Andy also designed the system so we could independently switch the side screens from the broadcast cut using the flexibility and versatility of the Panasonic vision switcher. It was very clear that Videocraft understand how to utilise the full potential of the AV-HS450 and how, by using third party add-ons, we could achieve a very cost effective workflow.” The Videocraft installation also integrated AJA Ki Pro hard disk recorders that enabled a fully file based workflow for the NSCC’s post requirements, a Ross router, Sony monitoring, new Sony projectors, Fujinon ENG and box lenses and all back end glue, wiring and cabling. As the NSCC facility is staffed by volunteers, ease of use was something that had particular attention paid to it with Stewart commenting, “Our volunteers are not broadcast industry professionals so Videocraft had to take that into consideration. The broadcast facility we now have is simple to use and yet gives us very high quality results. It’s a great example of how Videocraft have created a full broadcast facility on a very tight budget. As a result we have all our bases covered as, by upconverting, we are able to produce HD content for all our in house requirements whilst delivering an SD master for broadcast. Our aim is to upgrade to HD cameras in the near future. The other points worth mentioning were around Videocraft’s expertise and professional approach. Nothing was too much trouble, we were able to test before we purchased and no question was ever left unanswered.”  

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