POST Magazine: NAB 2010: Making Legacy Gear Future Friendly
Listen to the report from the NAB BuZZ: nabbuzzshow.com; Thursday, 9am show.
See my article from POST Magazine here.
Transcript:
There are several reasons to attend NAB.
1) See where your co-workers and clients work now – because most likely they’re with some other company, doing the exact same thing.
2) Be a geek, and yet be able to party like a rockstar – because everyone else is also a geek and also trying to party like a rockstar, so it’s OK.
3) See what the latest and greatest is, and what you need to mortgage your house to buy.
While the first 2 will never change a small but very important portion of the “new” gear you’re here to see is aimed at making sure you DON’T have to sell your organs on the black market to afford. They make your legacy gear future friendly.
Camera technology is probably the worst offender in terms of obsolescence. Tapeless is becoming the status quo, but the cameras of yesteryear – and often only a year or so ago – lack the functionality most new shooters demand – which is the ability to interface with an editing system easily. Your camera may be tapeless, but it may shoot in a format that is difficult for your editing system to understand without jumping through hoops. Quite possibly, you may just love the glass on that old betacam and refuse to give it up for a new run and gun solution. Whatever your reason, there is hope.
Convergent Designs nanoFlash device is a camera accessory that takes your cameras SD & HD SDI or HDMI output and encodes it on the fly into Sony’s XDCAM HD codec. You have the ability to select bitrates for quality, as well as what file format the video is saved in – QuickTime, MXF and MPG – to ensure it will play in your NLE. Instant tapeless for your beloved boat anchor, I mean, livelihood.
AJA’s Ki Pro – like the nanoFlash, takes the SD and HD SDI output of your camera and encodes into a digital video file. The Ki Pro records into Apple’s Pro Res codec, from Pro Res Proxy up to Pro Res 422 HQ –on the fly. This unit has a more robust feature set, including removable storage that can be transported and used with your NLE, plus a web interface for management and control options. Announced at NAB is the new ability to communicate with other Ki Pros for gang recording as well as RS422 support. It even has a camera mount so it can mount between your tripod and camera.
A new device, which I am very geeked about, is the Cinedeck. Not only is it a location encoder, like Ki Pro and the nanoFlash, but it comes with a crapload of I/O. Yes, Crapload is the technical term. It sort of resembles a Garmin GPS for your car in appearance. Cinedecks I/O includes component and composite video, SD & HD SDI and Dual Link via 3G and HDMI, as well as digital and analog audio, and with storage encodes into an edit ready 10 bit 422 or 12 bit 444 CineForm DI codec in MOV or AVI format. But wait, there’s more! MXF, uncompressed and DPX file formats are also included – all the way up to 2K frame sizes.
There’s also a LAN port as well as USB ports for loading LUTs and an Esata with port multiplier and RAID support. Its touch screen allows for menu navigation and video playback. All in the same size and weight as your 7” on camera focus monitor.
I’m not a shooter, but I think I want a camera, just to play with this.
So save your money. Go tapeless and keep your beloved shoulder steel.
My NAB 2010 Hit List
Once a year, us posties flock to our mecca, and plant ourselves within the bowels of sin city to suckle from the geek teet, and bask in all it’s acronym run glory. We spend too much on cheap food. We spend way more on alcohol, and desperately try and find which one of the vendors will have the best afterparty. Walking each hall and floor tenderizes our feet as if Rocky Balboa was in training. We hoard swag in the several free branded bags slung over both shoulders. We shout over the tens of thousands of other people asking the same questions, and demand specifications about balsawood products that won’t ship until next year. We play business card roulette and find out who is where. We reminisce about older, bulkier and more expensive technological solutions, the same way we’ll chuckle over this years offerings in 10 years.
Aren’t you psyched? I’ve been packed since Thanksgiving.
I’m lucky enough to be a part of many of the vendor meetings (yes, I still feel lucky) to hear some behind the scenes and roadmap information. This year, I even get the added bonus to be a special corresspondant for the Digital Production BuZZ; the official (and on the show floor) podcast of NAB. With this impending information overload, I’ve made a short list of the biggies I need to be sure to check out.
AJA: PCIe cards with 3G. That would be friggin’ sweet. Imagine your Kona 3 having two 3G outputs. This kind of bandwidth would allow for for Dual Link 4:4:4 and perhaps even full frame Left and Right Eye 3D – at resolutions at or above 2K. Michael likey. I’m also hoping to see a more enhanced KiPro; perhaps a more robust web interface for metadata, extra storage, and *maybe* other codecs.
Avid: Of course. With Apple (still) not having a booth, that leaves Avid as the sole NLE juggernaut on the floor. Due to NDA, I have to dance around the Media Composer 5.0 offerings, but I am excited about what will be shown. Several game changers, in terms of media usage, management, and viewing. Avid is really making a push, across the board, to be a bit more open. Kudos. I’d love to see Metafuze become (easily) cluster-able, and be a bit more efficient – if that is, indeed, how Avid will continue to utilize 3D. The smell of a Unity revamp is in the air, and I can only imagine an ISIS / Unity / Cuisinart hybrid.
Blackmagic: DaVinci. Lots of rumors about what the product is being morphed into since the purchase. What will Resolve become?
NewTek: TriCaster, natch. The Standard Definition units and now the XD300 are some of the few products in the past few years that have really knocked my nerd socks off. We lost 3 baseband inputs when the jump was made to HD – but I completely understand the limits of technology. To do all TriCaster does – in real time – hey, ya gotta make some sacrifices. A guy can hope that a unit with more inputs will be available. I’d also love to see an easier way to make 3D sets; much like the old Virtual Set Constructor NewTek had. However, perhaps an app that allowed for HD virtual set construction with user defined areas for super imposition / PIP, as well as reflections – like their pre-baked sets have. Creating these without Lightwave would be a huge benefit.
Cineform: I am totally in love with Neo3D for stereoscopic monitoring in Final Cut Pro. I’m hoping for a more reliable way to reconform, rather than just pulling timecode from the “paired” file. I’d also love to see distributed encoding into the cineform codec, so we can flip files faster. Perhaps the ability to have different views between the Canvas and the video hardware I/O output. Maybe more editing ability – like the 3D Stereo Tool box plug-in has.
Root6: I’ve been jonesin’ for the ability to have web based interaction with Content Agent. I’m also hoping to see some abilities to utilize more P2 based file formats that we use here in the States, but hasn’t taken off in the UK. I’d also like to see the incorporation of Digital Rapids 3.x software into the fold. Stream 3.0 introduced a host of features, and Content Agent is still utilizing Stream 2.5.x.
CatDV: Another piece of enabling software that is part DAM/MAM and part friggin’ awesome. I don’t expect anything more than further ass kicking. Automatic Duck: Wes has always been finding new and creative ways for project and media interchange. I can only hope that he’s been a bloodhound on the Avid 5.0 scent and will be ready to rock and roll. (If not – Wes, call me Monday at 9.01am. I have some ideas. We’ll make MILLION$).
Telestream: Can’t say much. Just go to the booth. Game changer(s).
Apple: Yes, I know you don’t have a booth, but you WILL be there…in some suite. A shiny one, I bet. Lurking. Taunting. iPadding. I’d love to nibble on the cheese in the mousetrap of Final Cut Pro and Final Cut Server. Who am I kidding? It won’t happen. But I can hope that maybe after the 5th or 6th round of Apple martinis, something will slip. And if that fails, there’s always roofies and knifepoint.
Autodesk: SMAC – Smoke 2010 for Mac OS X – is generating a ton of buzz. I’m hoping more modules will be written, and enhanced codec support.
Facilis: File Level locking is here! Hooray! But not for everyone. Mac 64 bit, and a few other choice configs – not so much. What say you, Facilis?
Assimilate: Lucas Wilson is the MAN. When he and Tony get together, stars align. Plus, their boss is named Taco… 
How can that trifecta be ignored? I’m gonna be looking for additional hardware options and configs for Scratch, and perhaps a wee bit more editorial options and project interchange. Howabout more efficient use of the Red Rocket card and hey RED, howabout stability on a Mac?
Other Hot Topics I’ll be sniffing out:
Easier and less expensive Blu-ray authoring for Mac and PC.
Larger Stereoscopic monitors at lower price points, both in Active and Passive varieties.
Anyone who wants to buy me a drink.
It came from the Searches Volume 1
I’m on a plane from Vegas – after nerding out at the Digital Signage Expo. It’s a full circle, having been christened into Digital Signage around 2002 with Graybow. Glasfire (3M’s Vikuiti), if any of you remember. In any event, this short 50 minute jaunt from Vegas to Burbank gives me time to write a quick blog.
Matt Stratton turned me on to Clicky Stats awhile ago, and through Clicky, I’m able to see what web searches come up with my blog as a result. I also see when these searches lead them to my blog – but then they leave because they didn’t find the answer. I thought since the search engines think I already have it on my site, perhaps I should. Below is a sampling of the search queries that my website supposedly already has the answers for. So, I present to you:
It came from the Searches, Volume 1.
dnx-36 firewire 400 and bandwidth requirements DNX36
Yes, DNxHD36 (aka DNx36) can certainly work through a firewire400 pipe. DNxHD36 runs at a 36mbps, while firewire400 has a theoretical max of 400mbps. This makes firewire400 a fine choice as a transport for DNx36 offline workflows.
29.97 and dnx36
This is a source of confusion for many Avid users, and I’m in the process of authoring a blog on this. DNxHD36 is a “family” according to Avid. While the “36″ label refers to the data rate for 23.976 material, the DNxHD36 “family” codec can be applied to 29.97 material. This would be technically known as DNxHD45 (45mbps as opposed to 36mbps).
“episode engine” cpu restriction
This is kind of vague. Within Episode, you can assign priority of encodes and cpu usage. Quicktime already is pretty poor with processor usage to begin with, however.
Metafuze Lossy?
Yes. After all, you’re transcoding from one codec to another – there will always be quality loss. In addition, DNxHD is a lossy codec – so, yes.
edit room day rate
This varies wildly. Depends what gear is in the room, what the room is used for (editorial, audio, finishing, color, etc.) your experience, and geographical location – and hell, what your rent is! Normally a reputable rental rate at a good facility would be a couple hundred bucks per hour or even much more. As a side note / soap box, don’t sell out the rest of the industry by undercutting other facilities. Talent and experience are worth the money. That’s a majority of what the client is paying for – not the gear. By undercutting everyone else, the industry is forced to adopt your lower rate as a standard, then everyone has to drop their prices. And the cycle continues. You’re shooting yourself in the foot.
Does clipster support facilis
Clipster runs on Windows XP 64bit, which Facilis has a client for. Fibre is the best choice (Ethernet won’t deliver the bandwidth needed), and it should be a recent version of Facilis software to enable file locking – volume locking will cause organization issues, but can be done.
convert red footage cluster setup
I wish I could do it better than these guys have:
http://www.kenstone.net/fcp_homepage/compressor_multi_cores_stitzer.html
http://www.fcsoutlet.com/home/Studio_Outlet/Entries/2008/9/1_Virtual_Clusters_-_Compressor.html
fcserver script
Good luck. Most everything is manual at this point. Try CATDV as a more GUI based alternative.
QIO-PCIE sonnet tech
The QIO comes with either a PCIE host card or a E34 (Express slot) host card. Unveiled at NAB 2009, and finally shipping now! Mac only support for now. List Price is about $1000.
FTP, KiPro
Well, once the KiPro encodes to ProRes, you can certainly FTP the file – although it’s gonna be huge. Your best bet is to offload it to a portable drive for transport or use a transfer solution like StorageDNA.
share msm database avid
I can only assume you’d like two or more machines to access the same Avid Database at the same time, in order to share media. Nope – the functionality you are attempting to do is achieved through Avid Unity, ISIS, and Interplay.
final cut server frontend
Final Cut Server (FCSvr) clients have a front-end based in Java; it looks the same on Mac or PC – and the administrator can restrict what functions a client can have. A popular alternative is creating a web page interface which ties into the database and media of FCSvr. The functions on thew web page are usually limited and typically only used for “review and approval” functionality. Several companies out there can create a custom web based interface – although it is far from cheap.
episode pro pro res 422
Yes, If Episode is running on a Mac, you can encode and decode into any of the flavors of “ProRes” (1 word). Decoding is only available (currently) on the Windows version.
NAB 2009: Wrap Up
Thousands of vendors, and hundreds of thousands of square feet later, I am back in SoCal, with some highlights from the 2009 NAB convention.
Sonnet: Following the success of the F2 portable RAID HDD solution, the previously announced F3 is slated to finally begin shipping by 5/15. The F3, like the F2, is designed for road warriors who routinely deal with vibration, cramped quarters, and who rely on RAID storage and high bandwidth performance. The F3 features multiple interface compatibility, including USB, Firewire 400 & 800, eSATA, and works fantastically with the Mac Book Pro. I frequently use the F2 when on mobile demos with my MBP, and easily get 120MB/Sec.
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On the desktop side, an update to the R400Q “family”, is the R400QR5. Same form factor, only now with more storage space AND with RAID 5. This inexpensive mass storage we’ve used for inexpensive 2K playout. Using Machina software (free from AJA) with an AJA card, along with this Sonnet storage is a very inexpensive 2K playout solution. Turning an assist station or even a machine in your machine room into a layoff/back system is now possible – on the cheap.
Qio, a multi-format card reader (P2, SxS, 21 other various formats) features Read and Write ability to the aforementioned formats, all I one box, and under $1K. Simple and elegant.
One down note: I have been a proponent of the Sonnet CPU upgrade cards for some time (I cut feature films on my Quicksilver Mac for many years past what the system should have been able to handle; a single proc 733MHz for $600 became a Dual 1.8GHz with their Encore/Duet upgrade). It appears that this is no longer a focus of Sonnet, and is being phased out until remaining stock is sold. Bummer.
AJA: New products, natch. Of notable mention: The KiPro, Kona LHi, IO Express, and several converters.
The Ki Pro is a portable recording device that takes in SD/HD-SDI, HDMI, and analog formats and records the footage directly to ProRes to an onboard HDD. This makes post much easier – no more RT capture or mixing formats in a timeline. Control via a laptop or iPhone (WiFi) is also supported.
The IO Express, aside from appearing unsuspecting, packs a punch. As the name suggests, it is a little brother to the IO HD. Designed for mobile usage, it’s ExpressCard or PCIe interface allow for SD/HD-SDI and LTC/Ref input, and Component, Composite, HDMI, and unbalanced audio output. I see this being extraordinarily useful in file-based workflows and for inexpensive, yet high quality video monitoring. It was in a glass case on the show floor, so ship date is up in the air.
A gap in the AJA product line was HDMI monitoring. None of the I/O cards had the ability for HDMI output with (of course) an AJA converter. With the lowering of the price for their base model card (LSe or LSe) there was a $1400 gap in product pricing as well. Enter the LHi, bringing some features from the Kona3 (RT up / down / cross converting) and adding HDMI 1.3 in and out plus the new(er) 3G SDI protocol.
I’d also recommend checking out 2 of their new converters, the Hi5-3G, which converts the previously mentioned 3G SDI protocol (simply: Dual SDI, commonly used for 4:4:4, on one SDI spigot) to HDMI v1.3 with analog audio. This is excellent, as many camera manufacturers (Sony, for example) are adopting 3G. AJA also showcased the HDP2, which converts SD/HD-SDI to DVI-D and HDMI; perfect for converting your baseband output to a digital display.
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It’s no secret that I’ve been a huge Facilis fan for quite a while. Not only is the performance well above par, its simplicity for the end user (as well as administering) is unmatched. The only downside was that is volume locking – not file locking – which made it an immediate no-go for some shared storage environments. Although showcased last year, the reseller meeting and booth this year focused heavily on the file locking ability of the new software release, v. 4. Although strictly on the Windows side until Q4, the file locking seems to work well – and was demonstrated mimicking the shared project ability of Avid. A first, as no other SAN solution offers the same concurrent project sharing as Unity. I am, however, concerned how it’s done. With a fibre jumper cable of 3 meters looped back to itself on the client? That concerns me as a band-aid type feature. With Apple support not planned until Q4, I’m worried that there still may be some bugs or hurdles that may not be effectively overcome. Facilis is on a roll, and I’d hate to see such a rich feature set, such as file locking, falter.
Avid: I find it difficult to put into words just how disappointed I was in a good portion of the “offerings” Avid had at NAB.
The Avid Reseller Meeting, a closed door event strictly for…well, Avid Resellers, consisted of 2 hours of lecturing about the restructure of Avid internally, aligning all of the product lines under Avid as a brand rather than Avid “overseeing” the other acquired names. “New Thinking” redux, me thinks. We’ve seen a huge change in personnel and positions from a reseller viewpoint – and we understand that changes of this scale require time and patience. I don’t believe it’s an understatement to be concerned about these changes and what the future holds for Avid.
Avid rolled out a new logo , website, as well as tiered support contracts…very similar to Apple’s Enterprise support contracts, based on uptime and “levels” of urgency. The new logo reminds me of something from Tron; I am not pleased.
As far as new tools, Avid announced support for Final Cut Pro on Unity and ISIS. I caught wind of this several months ago, but didn’t think it would be rolled out this quick, and apparently without any restrictions or throughput limitations.
The floor show was excellent, however, showing interop with Media Composer, Video Satellite and ProTools. Cutting 3D picture, adding sound effects, music, and roundtripping them all in a 10 minute show was fantastic.
I think perhaps holding off on v3.5 for 45 days until NAB may have given Avid more of a Shock and Awe factor at the show. But hey, that’s me.
Autodesk: Great booth! Autodesk showcased their previously announced Flare (insert obligatory Office Space joke here), a software only visual effects package, which contains many of the same features found in their Flame and Inferno systems, which cost up to 80% more. For assist stations, or junior effects jockeys, this would be fantastic. I understand, however, this is only available to facilities that already have Flame or Inferno in their workflow.
Fairlight and Euphonix: Both now have their controllers able to manipulate Final Cut Pro – albeit expensive, they can control the UI. Suggested to Fairlight: if Avid and Digi have Video Satellite, what about using Fairlight to control Final Cut Pro as a Video Satellite-esqe workflow?
RED ROCKET: more info as it becomes available, from POST magazine:
- R3D Decode, debayer and playback high quality realtime 4k at 30fps (or 5K at 25fps).
- Will accelerate FCP, Premiere, After Effects, RED Alert!, REDCINE, REDrushes or any application using the REDCODE SDK.
- PCI-Express, Output interfaces will include Quad-DVI and Quad-HD-SDI. Works with Mac, PC and Linux.
- Under $5k.
This is the same technology that DVS is showing at the show on their Clipster system. What this means is that 4K realtime from small files is an affordable reality. This also means that almost any third-party post tool can become 4K enabled.
More information as I sort through my notes!
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