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PanasonicAJA Video Ki Pro Portable Digital Disk Recorder Does It All, In And Out

AJA Video Systems, a leading manufacturer of professional video interface and conversion solutions, showed its Ki Pro portable digital disk recorder, which has been endorsed by top camera manufacturers including ARRI, Canon and RED. Virtually any video and audio source can be fed into Ki Pro to record 10-bit ProRes media that is then immediately available to edit within Apple’s Final Cut Studio.

The unit is priced at $3,995 and will ship in June.

Ki Pro records files to the Apple ProRes codec directly from the camera, allowing filmmakers, broadcasters and video professionals to skip the process of re-rendering to an editing codec by giving immediate access to 10-bit full raster edit-ready ProRes files.

The unit provides a new way of connecting production and post with its extensive analog and digital connectivity; Ki Pro allows users to record hours of ProRes media to a removable storage module with built-in FireWire 800, or to 34mm ExpressCard Flash, for immediate editing and file access. The unit can connect to any digital camera via SDI or HDMI, or any analog camera with multiple input options.


Portable Recorder/Players Speed Up Workflow from the Field

It is quite common today to shoot file-based field video onto solid-state, flash-based media. But what happens next to the recorded video can add tremendous speed to the post workflow.

Several manufacturers, including Sony, Panasonic and Ikegami, offer very lightweight field recorder/players that allow an assistant to begin logging video clips seconds after shooting. While production goes on, logging and copying of video can begin right on the set.

PanasonicPanasonic recently introduced the AG-HPG20 portable for P2 users. Featuring AVC-Intra recording, the 2.5-pound device brings easy playback, recording and file copying of 10-bit, 4:2:2 content to field and studio work. Equipped with two P2 card slots and a 3.5-inch LCD monitor, the device lets the user view content immediately in a variety of formats.

The Panasonic portable also serves as a low-cost, master-quality deck. The unit's HD/SD-SDI input terminal gives the flexibility of HD or SD line recording from a wide range of video sources, bridging content to and from older tape-based systems and new HD-SDI infrastructures.

Sony has two portable devices in this category, the PDW-R1 mobile field recorder/player and the PDW-V1 field viewer.

SonyThe DW-R1 is a portable 10.3 pound VTR that can be used as a pool-feed recorder, backup recorder, or standalone deck. This device is capable of playing back and recording both MPEG IMX and DVCAM without the need of any external device. The PDW-V1 is a portable, 7.7 pound VTR capable of playing back both MPEG IMX and DVCAM.

Proxy files, which are small MPEG-4 file duplicates of actual footage, can be viewed up to 30x faster than real time via the simple thumbnail search function on both machines. The R1 model has an RS-422A interface for use in both linear and nonlinear editing systems.

IkegamiIkegami is offering a portable and a player for its GF series flash memory camcorder. They are the new GFS-P10 Station Portable player/recorder and the GFS-V10PL playback deck. The GF system, introduced in 2005 with partner Toshiba, offers HD 1080i/720p format support, an open-codec HD/SD architecture, proxy video, and metadata. Recording and playback is in the MPEG2 HD422 format.

The Station Portable, half-rack wide and 3 RU high, provides a jog/shuttle dial and other VTR-style controls plus cuts-only editing of GFPak video clips. An Ethernet port allows the device to transfer GFPak material via Gigabit Ethernet. A built-in up-/down-/cross-converter is included for playback of HD and SD content, as well as a composite video output for monitoring or playout.

The GFS-V10PL, also half-rack wide and 2 RU high, is a low-cost desktop playback machine for producers or news directors to view raw GFPak footage. It includes Ethernet, 9-pin RS 4:2:2 connectivity, and a DVI-D video output. Prices of the Ikegami devices were not yet available.


Wrangler Allows Efficient P2 Workflow in the Field

A Somerville, Mass.-based manufacturer of PC-based video editing, compositing and storage systems called 1 Beyond Digital Video Systems, has responded to the needs of P2 shooters who desire rapid ingest, scene viewing, and video editing in the field while shooting.

The Wrangler P2 Portable Tapeless Field Ingest/Edit System allows the rapid unload of P2 memory cards, the instant review or adding of metadata to video clips, and high-resolution video preview. As an option, the system allows in-field editing for rough cuts, daily reviews connected to an HD LCD or projector, and instant on-set play for green screen chroma keys.

In news applications, the Wrangler can also be used for remote ENG applications to quickly upload and air video news clips.

There are two Wrangler models. The basic unit has a 17-inch LCD screen, solid-state system/applications disk for high reliability, and two raided video GoHDCart drive cartridges. The unit weights 39 pounds and sells for $6,995.

A Wrangler Pro model has a 20-inch LCD screen, solid-state system/applications disk for high reliability, and six raided video GoHDCart drive cartridges. It weighs 51 pounds and sells for $12,995.

Both units feature parallel multi-P2 unloading with simultaneous writing to multiple devices. No computer knowledge is necessary, since the units operate like appliances. The GoHDCart drives feature 320GB disk cartridges operating at 7200 RPM with cast aluminum housing and rubber shock absorbers. They feature optional 256-bit encryption.

The Wrangler is certified to work on the Avid Media Composer, MoJo DX, Adobe CS3 suite, Matrox Axio, RTX-2, AJA Xena HD, Blackmagic (all), Grass Valley Edius, SP, and Storm. The Pro model can instantly connect to up to five Macintosh or PCs for collaborative instant access. For more information, visit www.1beyond.com


New Generation of Video Monitors Raises Quality While Bringing Costs Down

Accurate, critical high-resolution video monitors have always been expensive. However, a new generation of professional-quality HDTV monitors is challenging that trend—keeping quality up while lowering costs.focus f5

Panasonic’s Model BT-LH2550, a new 25.5-inch high-resolution LCD HD production monitor priced at $5,995, is a good example. With a full 1920 x 1200-pixel In-Plane Switching (IPS) panel, this new Panasonic features an expanded color gamut, exceeding the NTSC standard, for critical monitoring at a cost far less than premium-priced reference monitors.

Panasonic said the LH2550 offers six color space settings—SMPTE, EBU, ITU-R BT.709, Adobe 2.2, Adobe 1.8 and D-Cinema—to expand the range of colors that can be viewed onscreen for high-end applications. The monitor’s image processing engine has a three-dimensional look-up table (LUT) that calibrates it to reproduce content according to the specific color standard selected.

At $6,245, Sony’s BVMA14F5U 14-inch, 4:3 aspect ratio CRT monitor supports multi-format input, accepting a range of SD and HD signal formats, with the added capability of dual-link HD-SDI input to monitor top-quality images up to 1080/50i and 1080/60i 4:4:4 RGB.

Part of Sony’s newly-upgraded BVM-A series monitors, the BVMA14F5U is configurable with three different option slots in which the user can choose any combination of the three available input option boards. The monitor also incorporates an all-new Ethernet based control system, allowing standard network cables and hubs to be used for easy configuration, high reliability, and good communication speed.

For on-camera mounting, a Houston, Texas-based company called Ikan has introduced the V8000HDe field monitor kit. The new V8000HDe is an eight-inch camera-mounted monitor that works with both SD and HD formats in 16:9 or 4:3 aspect ratios. The kit works with Sony, Canon, Panasonic and JVC camcorders and is priced at $945. For more information, visit Panasonic; Sony; and Ikancorp.