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Interesante video análisis sobre grabadores: High-Quality External Recorders

 

Rule's Tom Talbot provides the latest info on a variety of field recorders such as the Pix 240, AJA Ki-Pro/Ki-Pro Mini, NanoFlash, Gemini 4:4:4 & Cinedeck EX. Plus Vortex Media's Doug Jensen presents his new Test Drive for the PMW-F3 S-Log & External Recorders.

 

http://vimeo.com/35330173

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Articulo sobre el flujo de trabajo con las tarjetas SR y los grabadores de Sony: Sony SRMemory Workflows

 

With the Sony F65 and the SR-R1 recorder come a new set of workflow processes. At AbelCine, we are always trying to stay ahead of the curve, even as technologies such as these are evolving. Sony’s F65 and the SR-R1 both record to SRMemory cards, which are high-speed memory that enables recording of F65RAW video at up to 120 fps. To work with these cards, Sony has released the SR-PC4 and SRPC-5 transfer stations, which present a unique way of playing back and downloading content.

 

Like any new technology these devices can be a bit tricky to get started with, so I’ve put together these two videos to show how to work with SRMemory. The video above shows how to connect to the PC4 and its basic functions, and the video below shows how to mount drives to it for downloading.

SR_Memory_Five_619.png

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Convergent Design anuncia DNxHD y ARRIRAW opcional para su grabador Gemini 4:4:4 Convergent Design to add Avid DNxHD to Gemini 4:4:4 Recorder

 

(27-February-2012, Colorado Springs, CO USA) Convergent Design will soon enhance the award-winning Gemini 4:4:4TM recorder with the addition of the Avid DNxHD® codec. Expected sometime in 3rd quarter 2012, the upgrade will be available via a free firmware upgrade to all registered users.

 

The Avid DNxHD codec implementation will support 1080p24/25/30, 1080i50/60, and 720p50/60 at bit-rates of 220, 145, or 36 Mbps. The recorded QuickTime® (.mov) files will be compatible with a wide range of NLE programs, including Media ComposerTM, Premiere, Vegas, Edius, and Final Cut Pro.

 

Gemini 4:4:4 users can continue to enjoy the ultimate quality of uncompressed RGB 4:4:4 (with Log support) for high-end productions such as feature films, commercials, green-screen, VFX, or stock footage, with the option to switch to the highly regarded Avid DNxHD codec for less demanding work, such as television, corporate, or web media. Avid DNxHD offers greater record times, smaller file sizes and faster transfer speeds. For example, using two 1.8" 512GB SSDs, users can record, without interruption, up to 1.4 hours of 1080p24 RGB 4:4:4 uncompressed or an amazing 12 hours of this same format in YCbCr 4:2:2, compressed at the highest quality. The transfer time for 60 minutes of this video (to a fast RAID) using the upcoming Gemini Thunderbolt SSD adaptor, will be 32 minutes for uncompressed or a blazingly fast 4 minutes for the compressed version.

 

Sporting a high-bright 5.0" LCD and winner of four prestigious awards, Gemini 4:4:4 continues to lead the industry in terms of weight, size, and power. The addition of Avid DNxHD coupled with 3D support and the anticipated certification of ARRI® ALEXA ARRIRAW (both extra-cost options, expected in March), enhances Gemini 4:4:4 as the most portable, full-featured recorder on the market.

 

The Gemini 4:4:4 production kit includes the rugged milled-aluminum Gemini Recorder, SSD transfer station, and associated cables housed in a custom fitted hard case. Utilizing leading-edge technology, Gemini 4:4:4 costs up to 75% less than most competing solutions, while providing equal or better quality.

ConvDesignGemini444.png

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BlackMagic presenta un grabador con discos SSD:

 

BlackMagic HyperDeck Shuttle -> especificaciones

 

The world's smallest uncompressed video recorder!

Dramatically improve the quality of professional or consumer cameras! HyperDeck Shuttle gives you the quality of uncompressed recording direct to common low cost SSDs in the smallest possible size! HyperDeck Shuttle is small, affordable and battery powered so it's perfect as a field recorder. HyperDeck Shuttle bypasses your camera's compression and records from SDI and HDMI direct into the highest quality uncompressed video. SSDs are cheap and fast, so you can edit directly from the SSD media itself. Only SSDs eliminate time wasting file copying! Only $345

 

Perfect Quality

Compression destroys image quality and even high-end cameras compress images. Now you will never compromise quality because you can bypass the camera compression to get perfect uncompressed 10-bit SD/HD video. That's even higher quality than broadcast decks! Create the sharpest VFX plates for match moving, compositing and more. Get deep dynamic color range for color correction and do perfect, clean keying without jagged edges caused by compression. Even on shots like flyaway hair and multi-colored patterns. Now quality won't limit your creativity!

 

hyperdeckshuttle.jpg

 

hyperdeckshuttle.jpg

 

1 Transport Control

Buttons for Record, Stop, Next Clip and more!

 

2 Display Button

Activates the display mode.

 

3 Power Button

Power on and off. Hold button for 1 sec to turn off.

 

4 Video Status

Shows a valid video input is present.

 

5 SSD Status

Shows reads and writes from your SSD.

 

6 Battery Level

Shows charge state of the internal battery.

 

7 Power Supply Connection

Charge and power your HyperDeck Shuttle.

 

8 HDMI Connections

HDMI 1.4 capture and playback connections.

 

9 SDI Connections

SDI/HD-SDI input and output connections.

 

10 Mini USB 2.0

Update your software and change settings!

 

 

Me voy a comprar este grabador, alguien lo tiene, alguna referencia? que tal se porta el DNxHD con el Final Cut? Saludoss

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Blackmagic ya anuncia compatibilidad con Prores en el Hyperdeck Studio. Esperemos que en breve se incorpore en el portátil.

 

Si la idea es conectarlo a la cámara Blackmagic no tiene ningún sentido.

 

 

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MartaFibra no es para eso, evidentemente seria una tonteria, tan grande que no se ni como se te ha pasado por la cabeza jeje

Lo quiero para backup de una salida de realizacion, ademas de llevarlo a magneto lo quiero directamente a disco :)

Imagino q es cuestion de tiempo que el proress entre en esta gama asi que esperare,

Gracias por la info

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Tengo pendiente actualizar este tema, mientras me pongo traigo una novedad:

 

SideKick HD -> especificaciones

 

 

Overview

 

Capture the full potential of your HD camcorder’s high-quality sensor and lens with SideKick HD. Combining high bit-rate recording with the fastest multi-format, straight-to-edit workflow in the industry, SideKick HD delivers the quality, performance, and efficiency that you demand.

 

 

Features

 

Superior Quality

 

Capture the highest quality video that your HD camera can produce.

 

· Up to 220 Mbit/s

· 4:2:2 sampling

· 10-bit precision

 

Select the codec that postproduction prefers.

 

· Apple ProRes 422 (HQ)

· Apple ProRes 422

· In the future, more codec options will be available via purchased firmware updates.

 

Record directly to high-quality NLE formats, eliminating time-consuming transcoding and the image-quality degradation that it often produces.

 

Outstanding Performance

 

With its small footprint, brilliant full-color screen, intuitive controls, and flexible mounting options, SideKick HD makes it easy to capture the perfect shot, even in challenging conditions.

 

· Mount SideKick HD anywhere, with either the battery or cable option.

· Select your preferred video input: HD/SDI or HDMI.

· Capture every detail with automatic recording and frame-rate- and resolution-sensing capabilities.

· Confirm that you got the shot with the 4.3” on-board confidence monitor and its simple playback options.

· Increase record times with larger-capacity non-proprietary 2.5″ SATA solid-state drives.

sidekick-hd-photo-2.jpg

 

 

Ya dije en su momento que había un nicho importante para los grabadores digitales de imagen, pero como vivimos en el país del "que inventen otros" (como dijo Unamuno) así nos luce el pelo :ph34r:

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Tengo pendiente actualizar este tema, mientras me pongo traigo una novedad:

 

SideKick HD -> especificaciones

 

 

Overview

 

Capture the full potential of your HD camcorder’s high-quality sensor and lens with SideKick HD. Combining high bit-rate recording with the fastest multi-format, straight-to-edit workflow in the industry, SideKick HD delivers the quality, performance, and efficiency that you demand.

 

 

Features

 

Superior Quality

 

Capture the highest quality video that your HD camera can produce.

 

· Up to 220 Mbit/s

· 4:2:2 sampling

· 10-bit precision

 

Select the codec that postproduction prefers.

 

· Apple ProRes 422 (HQ)

· Apple ProRes 422

· In the future, more codec options will be available via purchased firmware updates.

 

Record directly to high-quality NLE formats, eliminating time-consuming transcoding and the image-quality degradation that it often produces.

 

Outstanding Performance

 

With its small footprint, brilliant full-color screen, intuitive controls, and flexible mounting options, SideKick HD makes it easy to capture the perfect shot, even in challenging conditions.

 

· Mount SideKick HD anywhere, with either the battery or cable option.

· Select your preferred video input: HD/SDI or HDMI.

· Capture every detail with automatic recording and frame-rate- and resolution-sensing capabilities.

· Confirm that you got the shot with the 4.3” on-board confidence monitor and its simple playback options.

· Increase record times with larger-capacity non-proprietary 2.5″ SATA solid-state drives.

sidekick-hd-photo-2.jpg

 

 

Ya dije en su momento que había un nicho importante para los grabadores digitales de imagen, pero como vivimos en el país del "que inventen otros" (como dijo Unamuno) así nos luce el pelo :ph34r:

 

Y porque deberíamos inventar uno? También hay un nicho importante en el 3D, tenemos una de las empresas mas potentes de rigs y procesadores del planeta y les ignoramos...

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Ya dije en su momento que había un nicho importante para los grabadores digitales de imagen, pero como vivimos en el país del "que inventen otros" (como dijo Unamuno) así nos luce el pelo :ph34r:

 

Y porque deberíamos inventar uno? También hay un nicho importante en el 3D, tenemos una de las empresas mas potentes de rigs y procesadores del planeta y les ignoramos...

Quien dice inventar (los grabadores ya están inventados) dice diseñar y fabricar uno

 

 

Tienes el ejemplo de la DIT Station Portatil (proyecto que probablemente conozcas a los autores): ellos han hecho el diseño según lo que creen que pueden necesitar como DIT's y se han buscado quien se lo fabrique (no se en que fase estará)

 

 

Lo mismo se podría hacer con un grabador externo de video, si los de Blusens son capaces de hacer esto...

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Aunque con retraso, lo prometido es deuda:

 

Convergent Design Gemini RAW grabador digital 4K RAW

 

Gemini%2520RAW.jpg

 

Feature - Specification

 

Video I/O Ports: Six Programmable HD/3G-SDI ports, configurable as: (4-In / 2-Out) or (2-In / 4-Out)

 

Video Standards: HD-SDI, SMPTE 292M; HD-SDI 3G, SMPTE 424M; HD-SDI Dual-Link, SMPTE 372M

 

Video Formats:

 

REC 709: RGB 444 / YCC 422 1080p up to 60fps

 

HD/2K RAW: IndieCam, IO Industries, Lux Media Plan, P+S Technik, WeissCam: 1920x1080/2048x1080 up to 120fps

 

ARRIRAW*: Alexa Family: 16:9 (2880x1620) up to 60fps, (4:3 (2880x2160) up to 48fps, planned)

 

QuadHD/4K RAW: Canon C500: 3840x2160/4096x2160 up to 30fps (60fps support in late 2012 with new SSDs)

 

Record Options

 

Compressed: Avid DNxHD support (QT) for 1080p YCC 422 up to 120fps; (1080p RGB 444 up to 60fps, planned)

 

Uncompressed: 1080p 10-Bit RGB 444 up to 60fps (DPX) with TC and metadata, audio recorded as wav file

 

RAW Formats: CinemaDNG, ARRIRAW, Canon RAW

 

Multi-Stream (x2/x4): Parallel recording of up to four 1080p30 YCC 422 streams (DNxHD-220) or four 30p HD/2K RAW streams

 

Multi-Codec: Simultaneous Recording of RAW/Uncompressed and DNxHD (220 or 36 Mbps) for online/offline workflow

 

Live Preview / Playback

 

Single Stream: Real time decompressed / debayered output with / without LUT applied

 

Stereo 3D: Individual output of each stream or combined streams: Side by Side, Line by Line, Anaglyph, 50/50 Composite

 

Multi-Stream (x4): Quad-split + any one of the four inputs (up to 30p)

 

4K Monitoring: Four quadrant 4K monitor output (4-SDI), from debayered 4K RAW input

 

Log Viewing LUTs: Support for S-Log, Log-C with user programmable 1D LUTs

 

Playback Control: Play, Rewind, Fast-Forward, Pause, and Step Control

 

Metadata: Reel Number, Scene Number, Take Number and Project Name

 

Media: Two Slots for 1.8" Solid State Drives (SSD), 256GB / 512GB sizes

 

Transfer Station: 1.8" SSD Transfer Station compatible with Seagate GoFlex Adapters (USB 3, FW-800, Thunderbolt)

 

Built-In LCD Monitor

 

5" high brightness LCD, sunlight viewable, 800 cd/m², 800 x (RGB) x 480 Pixels, 24-Bit, 900:1 True Contrast, Wide +/-85⁰ Viewing Angle (IPS Technology)

 

1:1 Pixel Option, with user positioning of desired window via touch control

 

Menu System: Touch Sensitive menu system with user-defined presets and customizable level of on-screen data

 

Timecode: HD-SDI Embedded (SMPTE RP-188) or LTC via the remote control option

 

Digital Audio I/O: HD-SDI Embedded 16-Channels, uncompressed, 24-Bit, 48K

 

Analog Audio Output: 3.5 mm output jack, headphone or consumer line level

 

Power Requirements: 6 to 25 Volts DC, 6 to 14 watts

 

Size, Weight: 138 x 120 x 37 mm (5.4 x 4.7 x 1.45"); 612 grams (1.35 lb); Milled Aluminum Case

 

Environmental: Ambient Temp: -10 to +40 ⁰C (Operating) / -20 to +70 ⁰C (Storage)

 

Gemini Production Kit

 

Gemini RAW Recorder + SSD Transfer Station + HD-SDI cables + Hotshoe with 1/4"x20 Ball Mount + Universal AC Power Supply + 4-Pin XLR Power Cable + D-Tap Power Cable + Sun-Screen; all packaged in a Custom Fitted Hard Plastic Case

 

Optional Accessories

 

256GB / 512GB SSD Media, Remote Control (with pushbutton start/stop, tally light and LTC I/O)

 

Notes: *Pending ARRI Certification; All Specifications subject to change without notice.

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Codex Onboard S grabador digital HD 4:4:4 más compacto. info aqui

 

Codex%2520onboard%2520s.jpg

 

VIDEO INTERFACE

 

2 X 4:4:4 Inputs, 2 X 4:2:2 Inputs, 2 X 3G-SDI

1 X 4:4:4 Output, 2 X 4:2:2 Outputs

 

RECORDING FORMATS

 

Uncompressed HD

Wavelet Encoded HD

Stereo S3D (Optional)

 

SUPPORTED VIDEO FORMATS

 

1920 x 1080 PSF 10-/8-BIT YCBCR 4:2:2 OR 10-/8-BIT RGB 4:4:4 23.98, 24, 25, 29.97, 30, 50 FPS

1920 x 1080PSF 10-/8-BIT YCBCR 4:2:2 DUAL-LINK 47.96, 48, 50, 59.94, 60 FPS

1280 x 720P 10-/8-BIT YCBCR 4:2:2 OR 10-/8-BIT RGB 4:4:4 59.94, 60 FPS

 

AUDIO INTERFACE

 

Embedded Digital Audio I/O (8 channels)

3.5MM Stereo Headphone Monitor

 

SUPPORTED AUDIO FORMATS

 

16/24-Bit at 48 KHZ, HD-SDI Embedded

 

NETWORK INTERFACE

 

1 X Gigabit Ethernet

 

CONTROL/SYNC INTERFACES

 

1 X Genlock

1 X LTC Timecode

1 X GPI Record Trigger

1 X RS-4:2:2 Control

 

RECORDING MEDIA

 

Solid State 240 - 480 GB Capture Drives

 

CONTROL SURFACE

 

Configuration and Recording Using Tactile Control Panel

Control Panel Can Be Handheld (Optional)

 

USER INTERFACE

 

Interface Can Be Operated Locally Or Remotely From A Computer

 

ENVIRONMENTAL

 

Power - 12 - 34 Volts DC Lemo

Weight - 2.7lbs/1.2Kgs

Operating Temperature - 5-40 Degrees C

 

Otros grabadores de Codex aquí

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Atomos Ninja 2 -> especificaciones

 

n2-blk.jpg

 

Ninja 2

 

10bit Smart Production for DSLRs & HDMI Cameras

 

$995 USD | €795 Ex.VAT | £695 Ex.VAT

 

Record | Monitor | Playback+Playout | Ready-to-Edit

 

The revolutionised Ninja 2, your 10-bit HDMI Smart Production Weapon

 

Ninja 2 packs even more features into its compact, rugged aluminium body:

 

AtomOS 3.0 - The real power of the Ninja-2 comes from AtomOS, our innovative and intuitive operating system.

Easy-to-use Touchscreen Operating System - Access all of the Ninja-2’s operations via the fast, responsive touch interface.

One-touch Navigation - Allows for simple operation – everything is one touch away.

Audio Input Level Meters + Headphone Line Out Volume - Touch audio meters to adjust 4 channels of audio. 8 channel HDMI audio support coming this summer

ProRes or Avid Codecs - Select the variety of ProRes® or Avid DNxHD codec you are recording to; Avid DNxHD-220X (10-bit), DNxHD-220 (8-bit), DNxHD-145 (8-bit), DNxHD-36 Proxy (8-bit) + all ProRes® options.

Timecode - Choose between On board, time of day, record run or auto restart time code modes or utilise external timecode from camera or any source input

Continuous Power - Atomos Continuous Dual Battery Technology

Affordable Storage - Infinite affordable 2.5" HDD/SSD storage capability

Unit Name - Name your Ninja-2 by project or camera. Media drives and recorded files are subsequently named with the unit name upon formatting.

 

And transforms your video production by:

 

Recording from any HDMI or HD-SDI source - DSLRs, Decks, Switcher, PC, Mac, iPad, iPhone

Eliminating the need for capture cards and wasted time logging and capturing by avoiding the lossy, time consuming capture-to-edit process

Bypassing the image-degrading compression needed to squeeze HD onto in-camera flash storage like P2, SxS, SDHC etc

Providing limitless and cheap storage through the use of abundant removable 2 ½ inch laptop hard disks

Including all accessories in one rugged case - Batteries, Chargers, Disk Caddies and a PC/Mac docking station

Recording to a high quality editing codec at the camera, in the field: simple.

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Cinedeck MX

 

MX_beautyShot_560x315.jpg

 

Cinedeck MX product highlights

 

Operation & Controls

 

Cinedeck MX combines Cinedeck's renowned and easy-to-operate 7" touchscreen interface with familiar manual Jog/Shuttle and deck controls. It can also be remote-controlled via popular RS-422 VTR/DDR protocols, and supports third-party control devices via USB connection. Cinedeck MX will ship with Cinedeck Controller, a TCP/IP based application enabling multiple Cinedeck MX systems to be managed from any PC, or via a browser, with no additional hardware requirements.

 

Record

 

Cinedeck MX has eight removable SSD drives, with in-built redundancy for security of assets, with capture resolutions including HD - 1080i, 1080p, 1080PsF, 720p, HD – 2K, 4K, and SD - PAL/NTSC, 480. It offers mix and match encode, with up to four camera/ channel inputs and multiple encodes per channel. It can also be configured to record stereoscopic 3D material in any of the supported codecs.

 

Codec support

 

Cinedeck MX delivers unparalleled codec support for Avid, Apple and a wide range of other popular standards, so that footage is immediately ready for editing in popular editors such as Apple Final Cut Pro, Avid Media Composer, Adobe Premiere Pro, Sony Vegas and GV Edius. Codec support includes: Avid DNxHD and DNx444, Avid Meridien JFIF; Apple ProRes 4444, CineForm and uncompressed 444 (10-bit) or 422 (8- or 10-bit); AVC-I 100/50; XDCAM HD50/XDCAM EX35; DVCPRO-HD; H264 and DPX.

 

Monitoring

 

Cinedeck MX monitors video in realtime via a high-resolution, 7" touchscreen display. It provides users with a comprehensive array of image analysis tools – including edge enhancement for focus assist, clipping, waveform, vectorscope and histogram.

 

Playback

 

Users can review shots instantly in realtime, and in any order, via the touchscreen display, or external HD-SDI or HDMI monitors – allowing instant QC.

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KEISOKU GIKEN UDR-N50 4K uncompressed, 3G-SDI, etc -> especificaciones

 

UDR-N50%E5%8F%B3%E6%96%9C%E3%82%81_%E7%94%BB%E9%9D%A2%E3%81%82%E3%82%8A2.jpg

 

KEISOKU GIKEN CO. LTD. SHOWCASES UDR-N50, 4K UNCOMPRESSED RECORDER DESGINED FOR CONTENT CREATION

 

This system is ideally suited to shooting use to post production applications for high quality images as well as 3D stereoscopic production.

 

UDR-N50 provides unparalleled capabilities and performance for tapeless digital cinematography in a compact half rack size body.

 

The cameras for various 4K resolution are released, and needs of the recording and playing system for the super-high definition scene rise along with it in the place of the contents creation in recent years.

 

Moreover the concern for making of 3D in a high definition is rising too and the demand of a high frame rate increases every year. It is clarified by CES2012 that there are many suppliers under development of 4k displays. The design concept of UDR-N50 is proved to be right.

 

From shooting, editing as well as screening, there are vast range of scenes where UDR-N50 can be used as Ultra-High-Definition, Ultra Presence Imaging applications.

 

 

Application:

 

Shooting

Recording device for cinema, CM, drama as recording device.

Editing

Linear make shift recorder

As a recording device for telecine, NLE ingest, color grading, -collection so forth

Screening

BD authoring original image player

Player for Digital signage or Digital museum

 

 

Feature:

 

4k2k recoding

Single unit can record and play 4k2k ultra high definition image

 

 

3G SDI

Support even higher resolution and wider bandwidth required1080p and digital cinema

 

 

10Gb Ethernet (Option)

For faster file transfer between systems and advanced system integration

 

 

Synchronous operation

Up 8 units are synchronized for expanded applications

 

 

Half rack size and light weight

Superior performance and features are packed in a compact size

 

 

Touch panel

Touch panel operation increases UDR-N50 operativeness

 

 

Price

Starting price is US$40,600.00

 

*Prices are varied in accordance to the storage media and capacities

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AJA Ki Pro Quad 4K/Quad HD/2K/HD Solid State Recorder -> especificaciones

 

features_cameos_block1.jpg

Preliminary features

 

4K/Quad HD/2K/HD Solid State Video Recorder

Supports 10-bit 4:4:4 and 10-bit 4:2:2

RAW support

Debayer and ProRes encode to on-board SSD

Realtime pass-through of RAW data via Thunderbolt™

Uncompressed and debayered 4K monitoring output

Dedicated HD monitoring via SDI and HDMI

Record to edit-friendly 4K, 2K, or HD ProRes files on removable SSD media

Offload ProRes files to your non-linear edit system via AJA Thunderbolt™ SSD reader

 

4K workflow

 

Camera outputs 4K RAW over SDI

Ki Pro Quad accepts 4K RAW over SDI

Ki Pro Quad performs debayer processing of RAW

Debayered image is used for on-board compressed recordings to SSD media

Debayered image is used for 4K monitoring output

Debayered image is used for scaled/cropped HD monitoring via SDI and HDMI

RAW signal is passed from camera to Ki Pro Quad and out via Thunderbolt™ to computer/storage

Further manipulation of RAW is made possible via software tools

HD, 2K, and 4K compressed recordings made to SSD media may be used directly in popular non-linear editors

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Sound Devices PIX 260

 

pix260_wscreen_web.jpg

 

PIX 260 Description

 

The rack-mounted PIX 260 is a file-based video recorder/player that seamlessly replaces tape-based video decks in production and post-production environments.

 

Key Features

 

· Based on the successful PIX 240 Production Recorder.

· File-based recording using Apple ProRes or Avid DNxHD encoded files, up to 220 Mb/s.

· Up to 32 track audio recording over Ethernet.

· Simultaneous recording to up to four eSATA-connected drives.

· 5-inch, 800 x 480 pixel video display.

· Front panel drive access behind video display.

· 8 balanced, line-level analog inputs and outputs.

· 8 channels of AES digital audio I/O.

· Time code, genlock master generator.

· Can record and play up to 16 channels of embedded SDI audio.

· Can embed and de-embed audio from analog, AES digital, and Dante.

· External RS-422 control.

· Embedded web server for machine transport over ethernet-based networks.

· Up to 32 channel audio interconnection using Audinate Dante.

· Playback from FCP 7, FCP X, and Avid sessions.

· Built in hardware scaling and frame rate conversion.

· Convenient 1/2-rack, 2U chassis dimension.

· Powered by 10-27 VDC, 4-pin XLR, 30 watts.

 

 

 

Actualización del firmware de los grabadores PIX 220 y PIX 240: 2.00 Firmware for PIX 240 and PIX 220 Video Recorders

 

Version 2.00 firmware for the PIX 220 and PIX 240 Video Recorder introduces a host of new features:

 

· LCD Monitor Menu with Exposure Assist, Focus Assist and Flip Display features.

· Exposure Assist includes False Color and Zebra Stripes options and is activated using LCD + FILES buttons

· Focus Assist includes Peaking Filter and Edge Enhance algorithms. Activate Focus Assist using LCD + MENU buttons

· 1:1 Pixel Mapping Zoom function to further aid focusing of HD video. Activate using LCD + AUDIO.

· Image brightness, contrast, and chroma adjustments in LCD popup menu. Only affects signal on the PIX LCD.

· Support for Standard Definition recording and playback

· Ability to create and delete cue markers using the FILES button during recording or playback

· Locate to cue marker function using Rewind and Fast Forward keys

· Loop Play mode allowing looping from start to end of a clip or between consecutive cue markers

· Support for Analog + SDI/HDMI audio input combinations

http://www.youtube.com/watch?v=lhqbRB5-238&hd=1

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Sound Devices presentó un par de cosas muy interesantes para los discos duros de sus grabadores:

 

 

Sound Devices PIX-CADDY

 

pix-caddy-header-001.jpg

PIX CADDY - SSD Mounting Accessory for the PIX 220, PIX 240 and PIX 260

 

The PIX CADDY provides a solid, removable connection for 2.5-inch solid-state drives (SSD) (not included) to attach to the PIX 220, PIX 240 and PIX 260 video recorders. Once secured to the caddy, SSD drives are quickly inserted and removed from the recorder.

 

Specifications

 

Firewire 800 (400 compatible) connection for mounting SSD to computers as UDF volumes when the caddy is not attached to a PIX recorder.

 

USB 3.0 (USB 2 and 1.1 compatible) connection for mount- ing the SSD to computers as UDF volumes when the caddy is not attached to a PIX recorder.

 

eSATAp connection for mounting SSD to a PIX recorder when the caddy is attached to a PIX recorder and for mounting the SSD to computers as UDF volumes when the caddy is not attached to a PIX recorder.

 

 

 

Sound Devices PIX-DOCK

 

pix-dock-header-001.jpg

The PIX DOCK connects drives mounted in a Sound Devices PIX CADDY to computers equipped with Thunderbolt™ high-speed I/O. Over a single Thunderbolt cable providing both power and data, the PIX DOCK offers blazing fast transfer speeds between drives and computers. Thunderbolt™ offers up to 10 Gbps interconnection speeds, making file copying of large capacity drives fast and easy. When using fast storage drives, its high throughput allows realtime playback of multiple streams of high data rate video. The PIX DOCK includes a 6 ft Thunderbolt™ cable.

 

Key Features

 

Thunderbolt connection for connectivity at speeds up to 10 Gbps

Compatible with SATA 1.0, SATA 2.0, and SATA 3.0 (6 Gbps) drives

Connects to PIX-CADDY using its eSATAp connection

Provides both power and data over a single cable

Secure, latching connection to PIX-CADDY

Includes Thunderbolt™ cable

Weighted base prevents sliding on desktop surfaces

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Hola colegas,

 

Estoy a punto de comprar un grabador externo con entrada SDI.

 

No me quiero gastar un pastón porque la cámara no lo merece... Así que estoy sopesando el Hyperdeck Shuttle 2 de Blackmagic, pero tengo una duda sobre el codec que emplea, en comparación con el Atomos Samurai, que graba en ProRes.

 

Alguno de vosotros me puede clarificar la diferencia entre Quicktime sin compresión y ProRes 422HQ?

Por más que leo, no me entero. Además, el precio del Blackmagic me hace sospechar... Es tan barato por la ausencia de pantalla, o es que el codec no está a la altura?

 

Un saludo a todos, y gracias por vuestra atención!

 

Edito porque gracias al traductor de google estoy aprendiendo mucho... Pero necesito la confirmación de los expertos!

 

Por lo visto, no parece peor codec el Quicktime sin compresión respecto al ProRes422... Tan sólo ocupa más espacio en disco.

En todo caso, debería ser mejor por la ausencia de compresión.

Qué hay de cierto en esto? De verdad no afecta a la calidad de la imagen cuando se hace una composición compleja, por ejemplo en Nuke, la compresión del ProRes422?

O para trabajar con programas de composición es mejor convertir a secuencia de imágenes?

 

Si esto es así, qué más me da grabar los brutos en QT sin compresión o en ProRes? Si luego tengo que convertir igualmente...

 

Perdón por la brasa, pero es que nunca me habían pedido imágenes de tanta calidad como ahora.

 

Gracias otra vez!

Edited by El Conde Crapula

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Hola de nuevo,

 

He descubierto un widget de Digital Heaven llamado Videospace que es muy útil para calcular el tamaño en disco de los ficheros según el codec.

 

1 hora de full HD en Quicktime sin compresión a 10 bit ocupa casi 500 gigas. A 8 bit, 342 gigas.

El mismo tiempo en ProRes 422 HQ 76 gigas. En 4444, 114 gigas.

 

Con tanta diferencia de tamaño, de verdad que no hay diferencia en la calidad de imagen???

 

 

Saludos!

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