NAB 2017: Blackmagic Design dramatically reduces price of Ultimatte 11

NAB 2017: Blackmagic Design dramatically reduces price of Ultimatte 11

Blackmagic Design today announced an immediate 60% price reduction for Ultimatte 11, which is available from Jigsaw24 now for only £8169 ex VAT. Acquired by Blackmagic Design in October, 2016, Ultimatte is the worldwide leader in blue and green screen removal technology for the broadcast television, commercial and feature film industries.

Now with this price reduction, customers can purchase three Ultimatte 11 units for a similar price to that which a single Ultimatte 11 cost when Blackmagic Design acquired the company. What this means is that customers can now put a full Ultimatte 11 on each camera and then use more cameras in a scene than was previously ever possible.

This also means that customers can use still frames as a background on each camera and leave the camera “locked off” so the result is customers can build their own virtual sets using multiple cameras, as more cameras on set eliminates the need to move cameras. This means simple still frame based virtual sets could be built affordably.

Ultimatte is known worldwide for delivering broadcast quality realtime blue and green screen removal hardware that is used in studios around the world to seamlessly composite reporters and talk show hosts into virtual sets. Almost every newscaster and weather reporter stands in front of a green or blue screen while delivering the news and weather. For the past 40 years, Ultimatte has been the industry standard hardware and software used to key these people in front of weather maps, stock charts, and other info graphics. In fact, many broadcasters use Ultimatte to place entire news teams, weather reporters, talk show hosts, sports commentators and more into completely virtual sets.

Ultimatte uses advanced 4:4:4:4 image processing and provides enhanced matte controls that lets customers accurately separate the subject from the background. Customers also get matte correction features, indirect and direct lighting features, spill suppression tools, edge artifact controls and more, all in realtime.

Ultimatte was founded in 1976 and has won an Emmy for their realtime compositing technology, a Lifetime Achievement Award from the Academy of Motion Picture Arts and Sciences, as well as an Oscar.

“Ultimatte’s realtime blue and green screen compositing solutions have been the standard for 40 years,” said Grant Petty, Blackmagic Design CEO. “Our efficient manufacturing capabilities have allowed us to drastically reduce the price of Ultimatte 11 by 60%. That means more customers will be able to afford more professional blue and green screen removal hardware for their studios than ever before!”

Availability and price

Ultimatte 11 is available now from Jigsaw24 for £8169 ex VAT.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

NAB 2017: Blackmagic Design announces new ATEM Television Studio Pro HD

NAB 2017: Blackmagic Design announces new ATEM Television Studio Pro HD

The world’s most advanced all in one live production switcher with integrated hardware control panel and powerful features such as HDMI and SDI inputs, multiview, talkback, DVE and more!

Blackmagic Design today announced ATEM Television Studio Pro HD, a broadcast quality all in one live production switcher with integrated hardware control panel designed for both broadcast and professional AV users. ATEM Television Studio Pro HD features 8 inputs, multiview, auxiliary and program outputs, analog audio inputs, built in talkback, two flash based media players, professional creative transitions, a DVE for effects and more.

bmd_atem_social

ATEM Television Studio Pro HD is available in May for US$2,295 and will be demonstrated on the Blackmagic Design NAB 2017 booth at #SL216.

ATEM Television Studio Pro HD combines a professional broadcast hardware control panel with a powerful 8 input switcher. It includes 4 SDI and 4 HDMI inputs, all with re-sync, so customers can connect a total of up to 8 different sources such as professional SDI broadcast cameras, consumer HDMI cameras, computers and even video game consoles.

ATEM Television Studio Pro HD is compatible with all SD and HD formats up to 1080p60 and also features two channels of analog audio in, RS-422, Ethernet and a built in IEC power supply, along with program and auxiliary outputs. Customers also get both SDI and HDMI multiview outputs so they can monitor all sources, preview and program outputs, along with labels, audio meters and more, all on a single big screen television or broadcast monitor.

ATEM Television Studio Pro HD is perfect for everything from professional broadcast studio shows and broadcast sports, to customers working on video blogs, gaming videos, internet talk shows, weddings, concerts, seminars and more. With resynchronization on every input, switching is completely glitch free which means that customers can even use it as a front end controller for AV systems and cleanly switch between sources with the press of a button.

Featuring a portable design, ATEM Television Studio Pro HD is packed with high end broadcast features that make it possible to create an entire live switched program, complete with effects and transitions. The hardware panel features large illuminated buttons for switching between sources, along with corresponding audio buttons, one touch transition buttons, downstream keyers, fade to black, media player, cut buttons and more. There’s also a built in LCD screen for previewing source and program video, a spin knob and additional buttons for menus and to adjust settings. Customers simply press the button for the source that they want to see next in the program, then hit the cut or auto button to switch sources, add effects, or even key in graphics.

When used with Blackmagic Studio and URSA Mini cameras, customers get a complete remote control solution that includes talkback, tally, color correction, camera control and more, without having to add any additional cables or proprietary control boxes. These cameras feature a built in color corrector that can be remote controlled, making it possible to balance camera color and create unique looks, all from the control panel. In addition, customers can adjust focus and iris on compatible lenses, change camera settings, and even remote control PTZ heads.

For maximum speed and flexibility in live productions, ATEM Television Studio Pro HD includes a free software control panel for Mac and Windows that allows multiple users to be connected at the same time. That means customers can have one person switching the program while another mixes the audio and another uploads or changes graphics, while another person remotely color balances and controls the cameras.

The software control panel features an intuitive interface with different pages for switching, managing media, mixing audio, and remote controlling and color correcting cameras. The Switcher page is modeled after a physical hardware control panel making it fast and easy for customers to switch between sources, adjust transitions, add upstream and downstream keyers, and more. The Media page lets customers drag and drop up to 20 RGBA graphics into the media pool and automatically upload them to the switcher’s flash memory so they can be recalled and used in realtime during a live program. The software control also features a 10 channel audio mixer that can be used to adjust and balance levels from all inputs, including the analog audio inputs. The audio mixer displays meters, has sliders for adjusting levels, and controls for turning channels on or off, using the audio follows video feature and more.

ATEM Television Studio Pro HD gives customers true broadcast quality transitions, effects and graphics. Transitions such as mixes, wipes and dips are done by simply pressing a button on the control panel. There are 37 included transitions, giving customers massive creative options because they can customize things such as border, border color and width, position, direction and more. In addition, there’s a built in 2D DVE for adding digital video effects that can position, resize and scale live video, all in realtime. That means customers can create professional picture-in-picture effects, use DVE powered transitions like squeeze and slide between sources, or create graphic wipe transitions with their own graphics.

ATEM Television Studio Pro HD has a built in media pool that can store 20 graphics that can be used with the two built in media players. The media pool uses flash memory, so images are saved even after the power is turned off. That means customers can create completely custom graphics to use in their own programs. In addition, there is an upstream keyer with full chroma keying for green screen shots so customers can add weather maps, graphics, or even virtual sets. The upstream keyer works with chroma, patterns, shapes and linear keys.

ATEM Television Studio Pro HD also features 2 downstream keyers for adding graphics, logos and bugs to video. Customers can use a HyperDeck Studio Mini with ATEM Television Studio Pro HD as a source for ProRes 4:4:4:4 motion graphics files with alpha channels. That means customers can get fill and key graphics composited over live video, or they can use motion graphics with alpha as transitions between sources, all in real time.

ATEM Television Studio Pro HD also includes a built in talkback converter for SDI cameras. The talkback information is sent back to the camera via the SDI program return feed on the rarely used SDI audio channels 15 and 16. When working live with a reporter in the field, there can be a slight delay that causes them to hear themselves as an echo in their headset. ATEM Television Studio Pro HD includes a new mix minus feature that sends back all the program audio except their own voice, so they don’t hear a distracting echo of themselves while reporting.

“The original ATEM Television Studio HD has been extremely popular with our customers who want a small broadcast quality switcher for live production,” said Grant Petty, Blackmagic Design CEO. “The exciting thing about our new ATEM Television Studio Pro HD is that it has all the same professional features, along with the speed of a full size 1 M/E hardware control panel for more complex, fast paced live events! When it comes to creating an entire HD program right from the switcher in real time, there simply is no faster, simpler or more affordable way to do it!”

ATEM Television Studio Pro HD features

– Integrated broadcast switcher and professional hardware control panel.

– 4 x 3G-SDI and 4 x HDMI inputs for a total of 8 inputs, all with auto re‑sync.

– Supports all video formats from SD to 720p, 1080i and 1080p HD up to 60fps.

– 1 x built in multi view for 8 sources, as well as preview and program.

– Built in media pool graphics storage for 20 RGBA stills.

– Built in DVE with borders and drop shadow.

– Transitions include cut, mix, dip, SMPTE wipes and more.

– 1 upstream keyer including chroma keyer plus 2 downstream keyers.

– 1 auxiliary output with aux switching buttons and LCD screen for viewing.

– Built in audio mixer live mixes embedded audio from all video inputs and independent audio inputs.

– Balanced XLR stereo analog audio inputs.

– Internal sources include black, color bars, two color generators and 2 media player outputs.

– Ethernet connection for computer connection. Mac and Windows control panel software included.

– Compatible with all ATEM Broadcast Control Panels.

– Black Burst and HD-Tri-Sync genlock input for integration into large systems.

Availability and Price

You can pre-order the ATEM Television Studio Pro HD from Jigsaw24 now for £1825 ex VAT.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

 

NAB 2017: Blackmagic Design announces DaVinci Resolve 14

NAB 2017: Blackmagic Design announces DaVinci Resolve 14

Blackmagic Design today announced DaVinci Resolve 14, the biggest release in the history of the product, and an update that has been designed to be more than an incremental software update, but a complete revolution in post production. Blackmagic Design believes the new DaVinci Resolve will break through the stagnant toolsets used in post production, and offer a new path forward for the smallest as well as the largest facilities in the world.

New features include up to 10 times performance improvement, a whole new audio post production suite with Fairlight audio built into DaVinci Resolve, and multi user collaboration tools that let multiple people edit, color and mix audio from multiple systems, all in the same project at the same time.

What this means is that DaVinci Resolve 14 is like 3 high end applications in one. Customers get professional editing, color correction and the new Fairlight audio tools. All it takes is a single click to switch between editing, color and audio. Then the new multi user collaboration tools let everyone work on the same project at the same time, so customers no longer have to import, export, translate or conform projects.

DaVinci Resolve 14 dramatically changes post production from a linear to a parallel workflow, so everyone can work at the same time, giving editors, colorists and audio engineers more time to be creative.

A public beta of DaVinci Resolve 14 will be available today and for immediate download from the Blackmagic Design website. DaVinci Resolve 14 will also be demonstrated on the Blackmagic Design NAB 2017 booth at #SL216.

DaVinci Resolve 14 features a new high performance playback engine that’s up to 10 times faster than before.

In addition to extensive CPU and GPU optimizations, customers also get better threading and GPU pipelining, lower latency, much faster UI refresh rates, support for Apple Metal and much more. This makes DaVinci Resolve 14 faster and more responsive than ever so customers get incredibly fluid performance and more precise editing, even on long timelines with thousands of clips. Scrubbing and playback are instantaneous and there is powerful new acceleration for processor intensive formats like H.264, making it possible to edit 4K images on a laptop.

 

Legendary Fairlight audio is now fully built into the DaVinci Resolve 14 application itself. Fairlight is famous for being used at the world’s highest end studios for audio post on film and television. Fairlight is known for both its superior sound quality and its speed. Customers get a massive set of professional audio tools for recording, editing and sweetening, professional bussing, mixing and routing, and multi format mastering to 3D audio formats such as 5.1, 7.1, Dolby and even 22.2. The state of the art, super low latency audio engine is designed to work with 192kHz 96-bit audio and delivers up to 1,000 tracks with real time EQ, dynamics processing and plug-ins on every track when used with the Fairlight Audio Accelerator. Plus the new Fairlight audio can record up to 96 channels while simultaneously playing back up to 150 audio channels, while mixing it all in real time! There simply is no other software available with this level of dedicated audio power.

The new Fairlight audio in DaVinci Resolve 14 features a full multi track timeline for subframe editing of audio, down to the sample level. The mixer is designed to let customers create sophisticated sequences and has several main, sub and aux buses for mastering and delivering to multiple formats at the same time. Every channel on the mixer features real time 6 band parametric EQ, along with expander/gate, compressor and limiter dynamics. Clip time warping lets customers stretch or compress audio without shifting pitch. In addition, every single parameter can be automated, even VST plug ins, using a variety of automation modes.

In addition to audio editing, sweetening, and mixing, Fairlight audio in DaVinci Resolve 14 also includes multi channel recording tools that are far superior to those found in most editing systems. Customers can record voice overs or even an entire symphony orchestra while also monitoring video and multiple channels of dialog and sound effects. The advanced monitoring can handle buses up to 24 channels wide with customizable fold-up and fold-down for crossing between formats. Monitoring can be done on up to 16 different sets of speakers, including massive cinematic installations.

DaVinci Resolve 14 works with the Fairlight Audio Accelerator card, which gives customers up to 1,000 zero latency tracks and real time effects processing for EQ, dynamics, and up to 6 VST plug ins per channel. Even without the accelerator, most modern computers can still process more than 60 tracks in real time. In addition, DaVinci Resolve 14 can also be used to drive the entire line of Fairlight hardware mixing consoles, which makes working on complex multi track projects faster than any other system available.

The advanced busing and mixing architecture also allows multi language and multi format delivery to be handled simultaneously from the same project, dramatically reducing the time required to deliver final masters.

All this editing, color correction and audio post production power also means multiple people need to work on the same job, at the same time. This is where the revolutionary new collaboration tools are vital to the dream of revolutionizing post production. The new collaboration tools completely redefines post production workflows by supporting simultaneous editing, color correction and audio post. Assistant editors can prepare footage while editors cut the picture, colorists grade the shots, and sound editors mix and finish audio, all in the same project at the same time.

New bin, clip and timeline locking lets users safely work on a specific part of the project without overwriting each other. There’s also a built in secure chat client that lets team members talk to each other from within DaVinci Resolve without the need for an external internet connection. This secure chat is vital because most high end facilities are unable to use services such as Slack or Skype for messaging because they need to remain completely disconnected from the internet to ensure security against hacking.

The new timeline comparison tool makes it fast and easy to see differences and merge changes between two timelines by viewing a side by side comparison of every single change made between users. Best of all, DaVinci Resolve 14 works with the storage you already have. There’s no need to buy expensive or proprietary storage and servers to work collaboratively.

The new multi user features of DaVinci Resolve 14 eliminate the need for importing, exporting, translating and conforming projects. Customers no longer have to wait for a locked edit before starting color and audio work. Switching between editing, color and audio is just a single click away. That means picture editors, colorists, and sound editors can all work in parallel, making DaVinci Resolve 14 the fastest way to edit, grade, mix and deliver projects.

In addition to the incredible performance improvements, editors also get new slip and slide trim commands that make it easier to dynamically trim live on the fly during playback. They can now save interface layout presets, view multiple bins at once and open multiple bin windows. New marker overlays, audio only and video only edit tools, track colors, and subframe audio editing make it the world’s most powerful creative editor.

For colorists, there are over 20 new Resolve FX filters that make it easy to remove dust, fix dead pixels, warp images and more. The amazing new face enhancement tool automatically recognizes and tracks facial features so colorists can quickly smooth skin, adjust skin tone, brighten eyes, and even change lip color, all without having to manually select or rotoscope any part of the image. The face enhancement tool is an indispensable feature that colorists will use every single day. In addition, there are new stabilization, match move, and other image processing tools that give colorists more creative options than ever before.

Customers can add a DaVinci Resolve Micro Panel, DaVinci Resolve Mini Panel or a DaVinci Resolve Advanced Control panel for the ultimate high speed workflow. All controls are logically placed near natural hand positions and are made out of the highest quality materials. Smooth, high resolution weighted trackballs and precision engineered knobs and dials feature the perfect amount of resistance for accurately adjusting any setting. The DaVinci Resolve control panels give colorists and editors fluid, hands on control over multiple parameters at the same time, allowing them to create looks that are simply impossible with a standard mouse.

“The overwhelming success of DaVinci Resolve has been incredibly exciting. It has become the world’s fastest growing editing system and now we’re taking it to the next level with DaVinci Resolve 14,” said Grant Petty, CEO, Blackmagic Design. “With this new version, we didn’t want to do an incremental update. We wanted to make a large leap forward and break new ground. It’s also much more exciting for the whole engineering team here at Blackmagic Design! We are really excited about how quickly editors are switching and we hope that a new generation of audio engineers will enter the industry. Together, we can all work to continue making it the best editing, color correction and now audio software in the world!”

Blackmagic Design also announced a price reduction for DaVinci Resolve Studio from $995 to only $299. It costs less than most annual cloud based subscription plans, making DaVinci Resolve more affordable to more customers.

The free version of DaVinci Resolve is also available with the same powerful new editing and audio post production features. The $299 DaVinci Resolve 14 Studio version adds the new collaborative multi user tools, over 20 new Resolve FX including the advanced face enhancement tools, 4K and 120fps project support, stereoscopic 3D, optical quality blur and mist effects, film grain, de-noise tools and much more. Best of all, DaVinci Resolve 14 Studio does not require a connection to the internet or a cloud subscription to work.

In addition, Blackmagic Design has also announced a new worldwide training and certification program, along with certified curriculum for DaVinci Resolve. Customers can learn at their own pace by purchasing the Blackmagic Design series of books, or they can take training courses online or in person at certified training centers. More details are available on the DaVinci Resolve website.

DaVinci Resolve 14 runs on all major platforms, including Mac, Windows and Linux, making it easy to integrate with existing systems and workflows. Customers running Red Hat or CentOS Linux can even build their own workstations using low cost motherboards, extremely fast processors, massive amounts of RAM and up to 8 GPUs for incredible real time performance.

Availability and Price

The public beta of DaVinci Resolve 14 is available today as a free download from the Blackmagic Design website for all current DaVinci Resolve and DaVinci Resolve Studio customers. DaVinci Resolve Studio is available for $299 from Blackmagic Design resellers worldwide.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

NAB 2017: Even more efficient storage solutions from Rohde & Schwarz with IBM Spectrum Scale

NAB 2017: Even more efficient storage solutions from Rohde & Schwarz with IBM Spectrum Scale

Broadcasters and post production houses can now implement intelligent solutions for storing their media files based on their needs. The new file system software for R&S SpycerBox Cell and R&S SpycerBox Ultra TL simplifies the storage workflow and makes it more cost-effective.

Reliable storage solutions are essential for broadcasters and post production houses. Digital content is the media industry’s key asset. It must be securely and safely stored. At the same time, certain media files must be quickly and reliably accessible. As budgets shrink and cost pressure grows, efficient storage becomes key in every respect.

To meet these requirements, IBM Spectrum Scale is now available for the R&S SpycerBox product family. This file system enables users to more efficiently utilize different storage tiers based on their needs. Combining high-performance R&S SpycerBox Cell online storage and powerful R&S SpycerBox Ultra TL nearline storage with IBM Spectrum Scale provides the basis for a centralized, tiered storage solution.

The file system solution assigns files to the most efficient storage location based on how frequently they are needed and other file characteristics. The advantages of the R&S SpycerBox products are optimally utilized. For example, R&S SpycerBox Cell features exceptional performance for realtime processing of video material, while R&S SpycerBox Ultra TL is a much more cost-effective nearline storage medium.

IBM Spectrum Scale allows files to be automatically or manually stored in the optimal location. Since file paths remain constant regardless of which tier is used, workflows do not have to be modified.

“It is important for our customers to be able to reliably access their media files at any time,” explains Stefan Weidner, Sales Director Media at Rohde & Schwarz. “This data is their company’s most important asset. With IBM Spectrum Scale on R&S SpycerBox Cell or R&S SpycerBox Ultra TL, broadcasters and post production companies can rest easy knowing that their key asset is securely and cost-effectively stored.”

As storage requirements increase, storage solutions must be scalable in terms of capacity and bandwidth. Customers in the media branch cannot tolerate any interruptions during production and broadcasting when they expand their storage space. The R&S SpycerBox series is capable of non-destructive scaling. Individual R&S SpycerBox Cell systems can be combined to achieve even more performance.

“In the media branch, a deadline is a deadline – especially for broadcasters. There are no extensions,” says Dirk Thometzek, Product Manager File Based Media Solutions. “That’s why a storage solution that guarantees efficient workflows is so important. The combination of Rohde & Schwarz hardware with the IBM file system makes it possible to scale the performance and capacity of centralized storage without interruption.”

R&S SpycerBox Cell and R&S SpycerBox Ultra TL with the IBM Spectrum Scale will be available in the third quarter of 2017. Quantum StorNext is still available as a file system option.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter, ‘Like’ us on Facebook or take a look at our roundup post.

NAB 2017: AJA announces HELO v1.1 firmware

NAB 2017: AJA announces HELO v1.1 firmware

AJA Video Systems announced new v1.1 firmware for its versatile HELO H.264 streaming, encoding and recording device. The update adds new features to HELO that further simplify and expand live production workflows.

HELO v1.1 firmware feature highlights include:

– A scheduler that triggers preplanned start and stop of recording and streaming media. The schedule may be programmed locally through HELO’s web UI, by importing ICS files or by linking to external calendar providers such as Google Calendar.

– Redundant recording of one file to two media destinations simultaneously.

– A recording file segment size of 360 minutes for TS files for long event recordings.

– Support for up to five RTSP streams.

– REST API documentation to describe how to automate basic HELO functions.

“HELO has been met with great enthusiasm, and we’ve been working closely with customers to rapidly develop and deploy updates that further improve its functionality while addressing common live event production challenges,” shared AJA President Nick Rashby. “Following our most recent update, which introduced support for Facebook Live, HELO v1.1. firmware includes several new features that make streaming, recording and encoding with HELO even simpler.”

HELO v1.1 firmware will be available soon as a free download.

About HELO
HELO is an affordable, flexible H.264 streaming and recording standalone device. Combining SDI and HDMI I/O into a single appliance, it allows users to stream out to a Content Delivery Network (CDN) while simultaneously encoding and recording H.264 files to either SD cards, USB storage or network based storage. HELO is available through AJA’s worldwide reseller network for a US MSRP of $1295. For more information, visit: www.aja.com/products/helo.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

NAB 2017: AJA unveils new 12G-SDI and Fiber Mini-Converters

NAB 2017: AJA unveils new 12G-SDI and Fiber Mini-Converters

AJA Video Systems today announced new Mini-Converters that resolve interoperability and interconnectivity challenges in modern broadcast and ProAV environments. New products include the 12GDA 12G/3G/SD-SDI Re clocking Distribution Amplifier, 12GM 12G-SDI to/from 3G-SDI Muxer/Demuxer, and new Multi-Mode SFP options for its family of FiDO SDI/Optical Fiber Mini-Converters.

12GDA 12G/6G/3G/SD-SDI Reclocking Distribution Amplifier
12GDA is a miniature 1×6 12G-SDI reclocking distribution amplifier. With support for 12G-SDI for 4K/UltraHD single link workflows, the format agnostic device features six separately buffered SDI outputs identical to the recovered input. It also offers automatic input detection, re-clocking and cable equalization, and an LED signal detection indicator, in a very compact design.

12GM 12G-SDI to/from 3G-SDI Muxer/Demuxer
12GM is a compact SDI transport converter that enables 12G-SDI to Quad 3G-SDI and Quad 3G-SDI to 12G-SDI conversion. The Muxer/Demuxer supports 4K and UltraHD workflows and conversions from multi-link SDI signals to single-link SDI signals, and vice versa at 1.5G, 3G, 6G and 12G bit rates.

FiDO Multi-Mode Fiber SFP Options
In addition to FiDO models that support single-mode fiber, new Multi-Mode SFP options for AJA FiDO Mini-Converters support multi-mode fiber optic cable at distances up to 700M (OM4) or 300M (OM3). The new lineup includes the following model names for ordering with multi-mode SFPs or when applicable, optional CWDM SFPs: FiDO-R-X single channel LC fiber to 3G-SDI; FiDO-T-X single channel 3G-SDI to LC fiber; FiDO-TR-X 3G-SDI/LC fiber transceiver; FiDO-2R-X dual channel LC fiber to 3G-SDI; FiDO-2T-X dual channel 3G-SDI to LC fiber; FiDO-4R-X quad channel 3G-SDI to LC fiber and FiDO-4T-X quad channel 3G-SDI to LC fiber.

“Our new 12GDA and 12GM Mini-Converters, and FiDO Multi-Mode options provide flexible, cost effective solutions that will help facilities overcome the connectivity and interoperability challenges they face with the latest broadcast and ProAV workflows,” shared AJA President Nick Rashby.

Pricing and Availability
12GDA will be available summer 2017 through AJA’s worldwide reseller network at a US MSRP of $495. 12GM will be available summer 2017 at a US MSRP of $895. Multi-Mode SFPs are available for order now from the AJA SFP Configurator. For more information about 12GDA, 12GM and FiDO Multi-Mode Options, please visit: www.aja.com/en/category/mini-converters.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

NAB 2017: AJA announces new KUMO CP2 control panel

NAB 2017: AJA announces new KUMO CP2 control panel

AJA Video Systems unveiled its new destination-oriented KUMO CP2 Control Panel for plug and play control of AJA’s complete line of compact KUMO SDI routers. Ideal for broadcast environments, it can be used in standalone or networked configurations for KUMO 6464, 3232, 1616 and 1604.

KUMO CP2 features 80 buttons and enables selection of up to 64 sources and 64 destinations on each of up to four KUMO routers in standalone mode or through a built-in GUI accessible from any web browser on the network. The affordable control panel is only 1.3 inches deep, easy to install, eliminates the need to use a Shift key on KUMO 1604, 1616 and 3232, and is backed by a five year warranty.

“Broadcast facilities and OB trucks have come to rely on a standalone control panel to control our KUMO routers, so introducing a compact, new 2RU panel that supports KUMO 6464, 3232, 1616 and 1604 is a natural progression, and we’re thrilled to be showing KUMO CP2 at NAB,” shared AJA President Nick Rashby.

Pricing and Availability
KUMO CP2 will be available soon through AJA’s worldwide reseller network for a US MSRP of $895. For more information, please visit: www.aja.com/products/kumo-cp2.

About KUMO
Compact, robust and built for critical production environments, KUMO compact SDI routers offer flexibility and quality that exceed SMPTE specifications at an unprecedented price. KUMO SDI routers are available in four configurations: KUMO 6464 supports 64 3G-SDI inputs and outputs, KUMO 3232 supports 32 3G-SDI inputs and outputs, KUMO 1616 supports 16 3G SDI inputs and outputs, and KUMO 1604 supports 16 3G-SDI inputs and four 3G-SDI outputs.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

NAB 2017: AJA introduces new solutions for IP workflows

NAB 2017:  AJA introduces new solutions for IP workflows

At NAB 2017, AJA Video Systems announced new firmware for its KONA IP desktop video and audio I/O card, along with two new IP Mini-Converters, significantly expanding flexibility in IP-based workflows. A new KONA IP license option for JPEG 2000, a preview of KONA IP firmware for SMPTE 2110, and new IPT-1G-HDMI and IPT-1G-SDI Mini-Converters will facilitate flexible and cost efficient delivery of work to and from creative suites via 1Gb Ethernet.

KONA IP firmware license for JPEG 2000

The new KONA IP firmware license enables compression and decompression of HD video in real time to/from JPEG 2000 encoded within an MPEG 2 transport stream. Featuring support for TR-01, the update ensures interoperability with other JPEG 2000 systems and devices across the network. It supports three configurations: up to two simultaneous JPEG 2000 outputs, up to two simultaneous JPEG 2000 inputs, or a simultaneous JPEG 2000 input and output to a system running KONA IP. A single KONA IP configuration with the latest Desktop Software v13 installed offers out of the box functionality for a range of creative apps including Adobe Premiere Pro, Apple FCP X, Avid Media Composer and AJA Control Room; dual KONA IP configurations are also supported for more demanding JPEG 2000 workflows for SDK developers.

KONA IP firmware for SMPTE 2110

Coming soon, and being demonstrated at NAB 2017, is the new KONA IP firmware for SMPTE 2110. With support for SMPTE 2110 up to HD rasters, KONA IP will introduce new flexibility for live production professionals by enabling networking with separate essence flows. Broadcasters will be able to synchronize production of audio, video, and ancillary data elements, eliminating the need for embedding/disembedding to/from SDI while also reducing latency. Visitors to AJA’s NAB booth will be able to preview current and forthcoming release features.

IPT-1G-HDMI and IPT-1G-SDI Mini-Converters for IP Workflows

Designed to compliment AJA’s line of IP receiver converters, the new IPT products convert HD video to VSF TR-01 (and other JPEG 2000 formats). IPT-1G-SDI provides two 3G-SDI inputs, and IPT-1G-HDMI has a standard HDMI type A input. The ability to convert baseband video to JPEG 2000 MPEG 2 transport streams allows a source to be transmitted anywhere on a network, and enables IP compatibility with baseband cameras, digital VTRs, routers and switchers. The IPT-1G-SDI and the IPT-1G-HDMI can be used in conjunction with KONA IP, plus the IPR-1G-SDI and IPR-G-HDMI Mini-Converters, to streamline video ingest, exchange and distribution across an IP network including final reception to displays.

“IP adoption and interest are surging; more than 40 vendors have recently demoed SMPTE 2022-6 and 2022-7 interoperability, a number that is sure to grow this year as vendors and facilities look to JPEG 2000 and SMPTE 2110 as a next step,” shared AJA President Nick Rashby. “We’re excited to introduce JPEG 2000 and SMPTE 2110 support for KONA IP along with our new IPT Mini-Converters this year at NAB, which significantly expand what’s possible for facilities embracing IP.”

Pricing and Availability

A KONA IP license for JPEG 2000 will be available to purchase soon through AJA’s website for $250 US MSRP per device. KONA IP firmware for SMPTE 2110 is anticipated to be available soon as a free download from AJA’s support page. IPT-1G-SDI and IPT-1G-HDMI will be available through AJA’s worldwide reseller network soon for a US MSRP of $795 each. For more information, please visit: www.aja.com.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

NAB 2017: AJA previews FS-HDR with breakthrough HDR conversion support

NAB 2017: AJA previews FS-HDR with breakthrough HDR conversion support

AJA Video Systems is previewing FS-HDR, an exciting new product delivering breakthrough HDR workflow conversion capabilities. Building on AJA’s flagship FS4, and incorporating the latest HDR technology from Academy and Emmy Award twinning developer Colorfront, FS-HDR provides HDR and Wide Color Gamut (WCG) processing and conversion for realtime 4K/UltraHD and 2K/HD workflows. It will be demonstrated for the first time as a technology preview during NAB 2017 at AJA’s booth, #SL2505.

FS-HDR, a 1RU, rackmount, universal converter/frame synchronizer, is designed specifically to meet the HDR/WCG needs of broadcast, OTT, post and live event AV environments, where real time, low-latency processing, color fidelity and metadata handling are of paramount importance. FS-HDR’s HDR/WCG capabilities leverage video and color space processing algorithms within Colorfront Engine™, specially licensed by AJA from Colorfront, and developed by Colorfront’s CTO Bill Feighter and Lead Engineer Tamas Perlaki, both of whom are Academy Award winners.

Powered by Colorfront Engine™, FS-HDR’s extensive HDR and WCG processing support enables the realtime processing of 4K/UltraHD and 2K/HD, including HDR conversions, and 4K/UltraHD HDR down-conversion to HD HDR. FS-HDR also enables the conversion of popular camera formats from multiple vendors into the HDR space, plus conversion to and from BT.2020/BT.709 as needed, critical for the widespread acceptance of HDR alongside SDR in broadcast and OTT workflows.

“Our AJA FS family of products have been incredibly popular in delivering ultra reliable video and audio conversion needs for anything that comes up on-set, in an OB truck, at a facility or in a live event production scenario,” said Nick Rashby, President, AJA Video Systems. “There has been a rising demand from these markets for a path to support HDR workflows. Partnering with Colorfront is enabling us to solve our customers’ HDR workflow requirements today, backed by Academy Award-winning engineering!”
“AJA’s professional video solutions already provide robust, powerful and cost effective video output for our On-Set Dailies, Express Dailies and Transkoder products,” said Aron Jaszberenyi, Managing Director of Colorfront. “In choosing the new FS-HDR solution with Colorfront Engine™, AJA customers will instantly access many years of Colorfront’s leading-edge research into SDR/HDR and camera output format conversion, plus a sophisticated tone mapping toolset, which delivers technically-accurate and visually pleasing results that retain the creative intent of the original material.”
FS-HDR features will include:

– Realtime HDR to HDR, HDR to SDR and SDR to HDR conversions including BT.2020 to BT.709 color space conversion
Inputs
– SDR BT.709 100 Nits
– PQ BT.2020 1000 Nits
– PQ P3D65 1000 Nits
– Hybrid Log Gamma BT.2100
– Sony® S-Gamut3/SLog-3
– ARRI® Log C Wide Gamut
– Panasonic V-Log
– RED® Log3G10 Wide Gamut
– Canon Log 2
Outputs
– SDR BT.709 100 Nits
– PQ BT.2020 1000 Nits
– Hybrid Log Gamma BT.2100
– Support for two modes:
– Single channel mode for 4K/UltraHD or 2K/HD frame sync and conversion including HDR conversions.
– Four channel mode for simultaneous independent 2K/HD/SD channels for standard conversion and frame sync workflows.
– 4K/UltraHD/2K/HD/SD video processing and up, down, cross-conversion.
– A full range of I/O options for 4K/UltraHD including Quad 1.5G; Dual 3G; and Quad 3G, 6G and 12G over a range of SDI and optional fiber choices.
– SMPTE 2SI I/O support for broad compatibility with 4K/UltraHD devices.
– Four-channel 2K/HD/SD video processing and conversion.
– 4K/UltraHD/2K/HD/SD up, down, cross-conversion.
– SD/SD aspect ratio conversion.
– HD/HD cross-conversion (720p/1080i).
– A 1RU frame offering space, power and cost efficiencies ideal for broadcast trucks, and post production or broadcast settings.
– Audio I/O processing with a 272×208 matrix of audio possibilities; support for a flexible range of audio feeds from discrete AES to MADI and embedded SDI audio, with each audio input offering sample-rate conversion.
– Simple operation, a redesigned menu structure and quick access to features via front panel buttons, as well as a web-based UI offering control over a LAN or across the web.

FS-HDR is being demonstrated as a technology preview only. Pricing and availability details will be coming soon. For additional information about AJA’s existing line of FS products, please visit: www.aja.com/family/fs.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

NAB 2017: AJA launches Ki Pro Ultra Plus with 4-channel HD recording and HDMI 2.0 support

NAB 2017: AJA launches Ki Pro Ultra Plus with 4-channel HD recording and HDMI 2.0 support

AJA Video Systems today announced Ki Pro Ultra Plus, introducing 1, 2, 3 or 4-Channel simultaneous HD recording up to 1080 50/60p, and full HDMI 2.0 (up to 12-bit capture and output) for 4K/UltraHD workflows.

The new Ki Pro Ultra Plus is ideal for recording multicam shoots in HD multi-channel mode, and 4K/UltraHD recording and playback in single channel mode. Ki Pro Ultra Plus is housed in a compact, easy to operate, standalone 2RU half rack and has broad I/O flexibility and connectivity options including 3G-SDI, HDMI 2.0 and optional fiber connections. Ki Pro Ultra Plus captures pristine 4K/UltraHD and HD video to widely accepted production codecs including Apple ProRes and Avid DNxHD MXF.

x410aas_social

Four channels of HD can be recorded simultaneously as Apple ProRes files, each with different compression profiles as desired, to robust AJA Pak 1000 SSD media. Ki Pro Ultra Plus includes the proven Ki Protect technology, ensuring that in the event of power failure or inadvertent withdrawal of a Pak drive, recently recorded footage is always secure. All four channels can be displayed on Ki Pro Plus’ LCD screen as a quad-split during capture for confidence monitoring, as well as the ability to output the quad-split over HDMI, SDI, and even on the integrated browser based web UI during capture.

“What sets Ki Pro Ultra Plus apart is the combination of multi-channel HD recording, 4K recording and playback, full HDMI 2.0 support, a full featured web-based UI for control and configuration, and Ki Protect providing peace of mind on all productions” said Nick Rashby, President, AJA Video Systems. “Our Ki Pro family is one of our most popular product lines and this latest addition adds some of the most requested customer features.”

Ki Pro Ultra Plus Features:

– Flexible HD recording options: 1, 2, 3 or 4-Channel HD recording at up to 1080 60p with independent ProRes codec profile support for each channel.

– 4K/UltraHD/2K/HD recording to Apple ProRes or Avid DNxHD MXF.

– HDMI 2.0 support allows for full 4:2:2 and 4:4:4 capture and output at up to 4K/UltraHD 60fps.

– 12-bit support on input for Apple ProRes 4444 and ProRes 4444 XQ encoding and HDMI 2.0 input and output.

– Built-in Ki Protect ensures recordings aren’t lost in a power failure.

– Broad video connectivity including fiber cages, 3G-SDI, and HDMI 2.0.

– Multi-channel audio support via embedded SDI or HDMI, AES/EBU, and Analog.

– WebUI enables remote monitoring, control and deployment on the field or in the studio, via a standard web browser.

– Compact 2RU high, half rack width form factor.

– Records to reliable and rugged AJA Pak SSD media, with options for recording to eSATA.

– Includes AJA’s renowned three year international warranty.

Pricing and Availability

Ki Pro Ultra Plus is available to pre-order from Jigsaw24 now for £4290 ex VAT.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.