AJA Video Systems announced today that it has added new 3G-SDI Multi-Mode fiber extender cards to its line of openGear compatible video and audio rack cards for use in openGear frames and AJA’s OG-3 2RU frame. openGear is Ross Video’s open architecture, modular frame system supported by a diverse range of equipment manufacturers.
The new openGear Multi-Mode cards facilitate affordable and flexible optical transmission and reception, and include:
“We’ve seen a growing demand for our line of openGear compatible cards since their initial release, with customers appreciating the density and reliability of the openGear platform,” said Nick Rashby, President, AJA Video Systems. “These new cards enable fiber optic cable runs with cost effective and flexible Multi-Mode cabling.”
Pricing and availbility
New openGear Multi-Mode cards will be available October 2017 for the following US MSRPs: OG-FIBER-TR-MM: $890; OG-FIBER-T-MM: $690; OG-FIBER-R-MM: $690; OG-FIBER-2T-MM; $890; and OG-FIBER-2R-MM: $890.
AJA Video Systems today announced support for HDR 10+ in the developer SDK for the company’s award-winning video and audio I/O products that support 4K workflows. This new development will be demonstrated at IBC with pre-release SDK software supporting the dynamic metadata that HDR 10+ delivers.
“With dynamic metadata, picture quality can be adjusted scene-by-scene, and the image quality is stunning,” said Nick Rashby, President, AJA Video Systems. “We’re very excited about offering HDR 10+ support as part of our SDK available to developer partners, ensuring our partners can bring all the latest tools for HDR production to users as fast as possible.”
HDR 10+ builds from HDR 10, adding dynamic metadata and more, allowing for scene by scene or even shot by shot variation. The standard allows for recognizing a display’s color space and more.
– SMPTE 2094-40 Dynamic Metadata for Color Volume Transforms (DMCVT).
– Colour transforms optimized for each scene and each display.
– Metadata tracks carry supplementary color grading information.
– Minimum signal interface: HDMI 2.0a.
– Playback color representation BT.2020 or BT. 709 dependent on display.
– Playback transfer function: ST 2084.
– Playback bit depth: 10-bit.
– Open standard.
OEM partners and developers are encouraged to sign up for AJA’s developer program for access to AJA’s SDK package. HDR 10+ support is currently a feature within the beta SDK for products that include KONA 4, Io 4K and the new Thunderbolt™ 3 enabled Io 4K Plus with 4K support. The beta SDK will be made available to qualifying applicants; requests can be submitted here.
At IBC 2017, AJA Video Systems announced new v2.0 firmware for the Ki Pro Ultra Plus multi-channel HD recorder and 4K/UltraHD/2K/HD recorder and player. The new update enables the latest HDR formats with HLG and HDR10 playback, and adds support for recording and playing ProRes 4444 XQ up to 2K60p, among several other feature enhancements.
“The new v2.0 firmware for Ki Pro Ultra Plus is an extension of our commitment to providing customers with updates that keep pace with the latest workflows. With this update, users can quickly and easily play back HDR10 and HLG material for viewing on HDMI 2.0 compatible displays, record/playback ProRes 4444 XQ and much more,” said Nick Rashby, President, AJA Video Systems.
Pricing and Availability
Ki Pro Ultra Plus v2.0 firmware will be available next month as a free download from AJA’s website. Ki Pro Ultra Plus is now available through AJA’s worldwide reseller network for a US MSRP of $3995.
About Ki Pro Ultra Plus
Ki Pro Ultra Plus is a multi-channel recorder offering 2, 3 or 4-Channel simultaneous HD recording up to 1080 50/60p, or in single channel mode, 4K/UltraHD/2K/HD recording and playback, with full HDMI 2.0 input and output (up to 12-bit capture and output). Housed in a 2RU half rack, it offers extensive I/O flexibility and a range of connectivity options from 3G-SDI to HDMI 2.0 and fiber. Ki Pro Ultra Plus captures pristine 4K/UltraHD and HD video to standard production codecs including Apple ProRes and Avid DNxHD MXF. Channels can be displayed on Ki Pro Ultra Plus’ LCD screen as a quad-split during capture for confidence monitoring, which can also be output over HDMI, SDI, fiber and the device’s web-based UI.
At IBC 2017, AJA Video Systems unveiled a new line of FiDO 12G to Fiber/Fiber to 12G Mini-Converters. New price reductions have also been announced for the Hi5-4K-Plus (3G-SDI to HDMI 2.0) and 3GM (3G/1.5G Mux/DeMux) Mini-Converters, bringing the costs down from $695 to $595, and $795 to $495 respectively.
AJA’s new FiDO converters support the transport of 4K/UltraHD/2K/HD/SD video and audio over long distances (up to 10km) over one optical cable. The new 12G-SDI models are:
An extension of AJA’s FiDO (Fiber Digital Optical) family of SDI/Optical Fiber converters, the new transceiver, transmitters and receivers meet relevant SMPTE specifications, and are built with a compact enclosure to fit seamlessly into racks, OB trucks or studios.
“With the latest HDR and 4K/UltraHD workflows, we wanted to deliver new 12G-SDI converters that offer the advanced speed and flexibility of 12G in the robust, rugged form factor our Minis are known for,” shared Nick Rashby, President, AJA Video Systems. “Our 12G FiDO models provide reliable solutions for broadcast, production, post and ProAV professionals.”
Pricing and availability
FiDO-TR-12G, FiDO-2T-12G and FiDO-2R-12G will be available Autumn 2017 through AJA’s worldwide reseller network for a US MSRP of $1,325 each, and FiDO-T-12G and FiDO-R-12G will be available for a US MSRP of $785 each in Autumn 2017. All are available for pre-order today.
AJA Video Systems today announced new Desktop Software v14 for its family of KONA, Io and T-TAP products. Desktop Software v14 adds new features that simplify 4K/UltraHD and HDR workflows, as well as new audio capabilities for individuals working in broadcast, TV, film, post-production, ProAV and OTT.
With the new capabilities for audio, the AJA Desktop Software allows Adobe Premiere Pro CC users to review and play audio files from multiple locations, including locally stored files, or via a MAM or web browser, within project timelines. The solution also makes it easier to record voiceovers into existing media directly on the Timeline. The solution allows Adobe Creative Cloud users to use Thunderbolt 3 via USB-C for video and audio I/O with leading macOS and PC workstations and laptops.
“Having an easy way to record voiceovers into the timeline is more relevant than ever before with the fast pace of today’s production demands,” said Nick Rashby, President, AJA Video Systems. “Desktop Software v14 introduces features that make it much easier for editors in any medium to bring flexible audio options into their workflows.”
“We’re pleased to see AJA continue to innovate as the digital postproduction toolset evolves,” said Sue Skidmore, head of partner relations for professional video at Adobe. “Tight integration with the Adobe video apps expedites workflows and allows users to stay ahead.”
Desktop Software v14 will be available mid-October 2017 for AJA’s family of KONA, T-TAP and Io products, including the new Thunderbolt 3 enabled Io 4K Plus. New audio features enable simple, adjustable audio monitoring, giving editors new levels of control between professional timeline audio, host system application audio and microphone inputs. This update also supports full duplex, ultra-low latency voiceover/audio punch-in to timeline using either digital or analog audio inputs. AJA’s Control Panel and Control Room software also now support intuitive configurations for 12G, 6G and HDMI when used with Io 4K Plus.
Desktop v14 feature highlights include
– New audio controls to adjust the monitoring mix between the NLE timeline audio playback, host system audio and voiceover/punch-in mic input.
– Ability to audition music or other audio from a web browser/MAM/cloud, while listening to playback from an Adobe Premiere Pro CC or FCP X timeline.
– Record voiceovers to timeline with low latency, full duplex audio punch-in with Io 4K Plus, Io 4K and KONA 4 for Adobe Premiere Pro CC and Avid Media Composer.
– 12G-SDI, 6G-SDI and HDMI 2.0 I/O configuration controls for Io 4K Plus.
Pricing and availability
Desktop Software v14 will be available mid-October as a free download from AJA’s website.
AJA Video Systems today announced the new Io 4K Plus capture and output device with support for Thunderbolt 3. Io 4K Plus offers the latest 12G-SDI and HDMI 2.0 I/O connectivity, advanced audio features and 4K/UltraHD support up to 50p/60p frame rates.
Io 4K Plus is the next generation of AJA’s capture and output hardware devices and AJA’s first Thunderbolt 3 product. Offering a range of connectivity, including 12G/6G/3G/1.5G-SDI and HDMI 2.0 I/O, Io 4K Plus is compatible with the latest 4K/UltraHD devices. Using AJA’s proven drivers and application plug-ins for macOS or PC, Io 4K Plus integrates with standard creative tools such as Adobe Premiere Pro, Apple FCP X and Avid Media Composer. AJA’s proven conversion technology facilitates real time, high quality scaling of 4K and UltraHD to HD for monitoring and output. Io 4K Plus also includes an additional Thunderbolt 3 port for daisy chaining flexibility.
Thunderbolt 3’s broad bandwidth allows Io 4K Plus to support 4K/UltraHD and HD large raster, high frame rate, deep color and HDR projects to Thunderbolt 3 via USB-C equipped workstations or laptops.
“Tight deadlines and technology shifts have introduced a new layer of complexity to post-production workflows. Io 4K Plus with Thunderbolt 3 support reduces that complexity by moving high resolution, high frame rate files through a single cable with ease,” said Nick Rashby, President, AJA Video Systems.
Io 4K Plus feature highlights include:
– Thunderbolt 3.
– Backwards compatibility with existing Thunderbolt hosts.
– 12G/6G/3G/1.5G-SDI and HDMI 2.0 I/O for 4K, Ultra HD, 2K, HD and SD with HFR support up to 60p at 4:2:2.
– Realtime 4K/Ultra HD to 2K/HD down conversion.
– 8, 10 and 12-bit 4:2:2 and 4:4:4 over 12G-SDI or HDMI 2.0 workflow support.
– Two Thunderbolt 3 ports allow easy daisy-chaining of up to six Thunderbolt devices.
– 16 channel embedded audio on SDI; eight channel embedded audio on HDMI; eight channel analogue audio via XLR breakout.
– Downstream keyer.
– Standard 12v four pin XLR for AC or battery power.
– Compatibility with creative applications including Adobe Premiere Pro, Apple FCP X, Avid Media Composer; FilmLight products; AJA Control Room and more.
– Three year international warranty.
Pricing and availability
Io 4K Plus will be available mid-October 2017 for US MSRP $2495.
Atomos are always good value at IBC, and this year they’re on our must-see list yet again thanks to their sub-$2K high brightness HDR monitor, the Sumo19M (UK pricing to follow). Video and press release below.
Atomos today launches the Sumo19M, an affordable high brightness production monitor with HDR capabilities, 3D LUTs and touch control. At $1995 US it is perfect for professional film and video shooters wanting to up their game on set, without breaking the bank. Sumo19M is a monitor-only variant of the Sumo19 launched at NAB earlier in the year. The Sumo19M is optimised for monitoring, with a reconfigured user interface and dual SDI inputs for A/B comparison. It shares the same screen, ergonomics and industrial design as its sister model, but without recording. As a result, the Sumo19M is set at a lower price point.
HDR, high brightness and LUTs
The Sumo19M has a daylight-viewable 1920 x 1080 IPS screen capable of stunning 1200nit brightness, combined with the ability to display a wide range of 4K and HD sources. The Sumo19M features 10-bit processing coupled with Atomos’ unique AtomHDR engine for easy and accurate HDR monitoring. You can easily set optimal exposure when exposing for Rec.709 or HDR material. There is a comprehensive set of manufacturer-specific Log gamma settings pre-installed and multiple custom LUTs for creative looks can be stored and displayed on the Sumo19M. These LUTs are loaded via a standard 2.5 inch drive placed in an Atomos Master Caddy. The unique HDR slider allows users to rapidly examine Log images when shooting for either HDR or SDR. In SDR the slider can be used to set exposure to prevent excessive noise in shadow areas, or blown-out highlights.
In addition, the Sumo19M has the full range of exposure and composition tools found on other Atomos 4K monitors. Waveform monitoring, zebras, 1:1 and 1:2 magnification, peaking, false color, vectorscopes, anamorphic desqueeze and frame guides are all available at your fingertips. Display accuracy can be guaranteed over time using a i1DisplayPro probe and calibration software from color specialists X-rite. An optional sunhood is also available which can be left on the unit and folds down for transport.
Perfect for productions large and small
The result is that the Sumo19M gives DPs, directors, producers, gaffers, focus pullers and clients a precise way to assess their images on-set. “The idea with the Sumo19M is to bring the latest advances in modern on-set monitoring to a much wider range of cinematographers, directors, producers and other creatives than ever before.” says Jeromy Young, CEO of Atomos. “We have harnessed our engineering knowhow and mass production techniques to make the Sumo19M available to our customers for much less than any monitor with similar performance. Now anyone will be able to utilise a high brightness on-set monitor and HDR, not just high-end productions.”
In the edit suite
Sumo19M is just at home in the edit suite as on-set. The color-accurate display allows productions the ability to grade their footage with confidence. Unlike a regular computer monitor, the Sumo19M directly accepts broadcast spec video signals over SDI and HDMI for accurate monitoring.
The Sumo19M has two 12G/6G/3G SDI inputs for A/B input comparison of 4K or HD sources, plus a HDMI 2.0 input for easy connection to consumer imaging devices like DSLRs, camcorders or mirrorless cameras. Frame rates of up to 60 fps are supported. Signals can also be output and also cross- converted between SDI and HDMI, with the added ability to output a signal with LUT applied, or to convert a Log image to HLG and PQ HDR standards on the fly.
The reconfigured user interface gives direct access to all key functions via the touchscreen. To make it feel more familiar the layout emulates a traditional push-button monitor, but with the key advantage of more rapid touch selection and easier advanced option access. The elegant and intuitive layout means you and your crew won’t get confused setting up.
Ready for production
Not only is the Sumo19M beautiful to look at, it is robustly built to handle the rigours of daily production. It has an aluminium chassis with built-in armor and distinctive grey protective bumpers on each corner. There are multiple mounting holes on each side for attachment of handles, wireless video systems or other accessories. The Sumo19M has a 3.5mm headphone jack for on-set review of audio.
On the rear of Sumo19M there is an industry standard VESA hole pattern for mounting to a wide variety of third party brackets. The monitor also comes with solid metal feet for desktop use.
Sumo19M has three separate XLR power inputs. Along with one for a regular mains supply, it has a further two for the Atomos hot swap battery system which provides the ability to power continuously in the field. The battery wing plate included allows two V-Lock or Anton Bauer battery plates (not included) to be attached to the Sumo19M; when one battery runs out the other takes over, allowing the flat one to be replaced without powering down the monitor.
The Sumo19M will ship by the end of September for $1995, plus local taxes. It sits alongside the Sumo19 that offers the same high brightness AtomHDR screen for monitoring, but adds recording and playback of up to 4Kp 60 and 2Kp 240 from a wide variety of cameras.
Adobe’s MAX conference isn’t until October, but being good sports they’ve joined the general IBC announcement scrum and announced some exciting new video and audio tools to coincide with the show. (They’re also live streaming demos on Facebook, if you need something to distract you from the fact that you’re not in Amsterdam.)
Adobe are focusing on four big changes: Character Animator, a VR viewing environment, Team Projects, and auto-ducking in Audition. Here’s the official breakdown:
Character Animator 1.0 is unveiled with changes to core and custom animation functions, such as pose-to-pose blending, new physics behaviors and visual puppet controls. Adobe Sensei helps improve lip-sync capability by accurately matching mouth shape with spoken sounds.
Virtual reality video creation will be possible with a dedicated viewing environment in Premiere Pro. Editors can experience the deeply engaging qualities of content, review their timeline and use keyboard driven editing for trimming and markers while wearing the same VR head-mounts as their audience. In addition, audio can be determined by orientation or position and exported as ambisonics audio for VR-enabled platforms such as YouTube and Facebook. VR effects and transitions are now native and accelerated via the Mercury playback engine.
With the release of Team Projects, Adobe has improved collaborative workflows on the Local Area Network with managed access features that allow users to lock projects and provide read-only access to others. Formerly in beta, Team Projects will offer smoother workflows hosted in Creative Cloud and the ability to more easily manage versions with auto-save history.
Adobe Audition adds flexible session organisation to multi-take workflows and continuous playback while editing. Powered by Adobe Sensei, auto-ducking is added to the Essential Sound panel that automatically adjusts levels by type: dialogue, background sound or music.
At IBC2017, FilmLight is celebrating the formal release of Baselight 5.0, as well as exhibiting the 5.0 colour tools across its entire product range.
The update includes over 50 features, including a new primary grading environment known as Base Grade, a new Gamut Compression tool for HDR workflows, and new creative tools like Grid Warp, Paint, Perspective Tracker and Texture Equaliser. get the full details in the press release, below.
Offering over 50 new features, version 5.0 has been comprehensively put through its paces over the last year on a variety of real projects with complex workflows. Baselight 5.0 has been at the heart of blockbusters, high-end television series and commercials. The feedback from colourists around the world has been very positive, and the results are stunning.
One of the key features in version 5.0 is Base Grade, a new primary grading environment for modern colour workflows and HDR.
“Base Grade makes you so much faster in matching and creating stunning looks – in a single layer,” said Philipp Horsch, Senior Colourist and CEO at BFS Entertainment GmbH Munich. “The new subdivision of dim/dark shadows and light/bright highlights, each with its own pivot and falloff, basically gives you four keys already integrated in the layer.”
Version 5.0 aims to make grading for HDR even easier with the addition of colour space ‘families’, and the new Gamut Compression tool. It makes moving between colour spaces simple and seamless.
“The new colour space families make delivering diverse masters really easy,” added Horsch. “With 5.0 I can now concentrate exclusively on the creative job and don’t have to worry so much about the colour science.”
“Gamut Compression is so useful, especially when dealing with car commercials, where the LED brake lights often push the saturation too far,” added Mick Vincent, Senior Colourist at The Mill, London. “Baselight 5.0 has been so exciting already, and there are so many more tools to try out – we have a great year ahead of us with this system at our fingertips.”
The addition of many new creative features – including Grid Warp, Paint, Perspective Tracker and Texture Equaliser – have also proven to be very popular.
“Baselight 5.0 has made finishing projects much faster and with less hassle – which is key for television content with a demanding production schedule,” said James Perry, Editor/Colourist on The Dr. Phil Show. “Instead of having to send shots to our graphics department for wire removal or general touch-ups, I can fix them easily in Baselight.”
Martin Tlaskal, Lead Developer at FilmLight, added, “These are just a handful of many comments from talented colourists, who have collaborated with us on the testing and refinement of version 5.0. It is extremely gratifying to know that our ideas have proven so valuable in practice among the creative community.”
With Baselight 5.0 now launched, the new features will soon be deployed across FilmLight’s other BLG-enabled products; Daylight 5.0, the dailies and media management platform, as well as Baselight for Avid 5.0 and Baselight for NUKE 5.0 in the Baselight Editions range, will enter beta after IBC, with Prelight 5.0 to follow soon. FilmLight is showing all of these products at IBC2017 on stand 7.F31.
It’s day one of IBC, and NewTek have already unveiled LivePanel, a fully customisable browser-based control system that they’ll be including with NewTek IP Series multi-camera production systems, and which will be available as an option with TriCaster TC1.
As NewTek explain, LivePanel will be “accessible from smartphone, tablet, laptop, or desktop devices – wired or wireless.” It “allows users to access their own customised video workflows from any web browser on the same network. Users can also preview and monitor videos of any video source within the browser for immediate visual feedback. Even casual users can design and drive complex productions with a few button pushes, providing a level of quality and consistency rivaling seasoned professionals.”
Investing in LivePanel will also allow more operators to get behind the TriCaster TC1 and IP Series systems in larger-scale production environments – NewTek are particularly keen that you try using it for scoreboard control and stats feeds at sporting events.
“Producers who want to leverage the cutting-edge IP production workflow and horsepower of NewTek live production systems without requiring highly-trained production personnel can now use NewTek LivePanel to simplify the user experience and create high-quality, consistent programming,” said Brian Olson, Vice President of Product Management for NewTek. “LivePanel makes designing and running a complex production easy and fun, and illustrates NewTek’s commitment to innovating the way production is performed and leading the move to full IP based workflows. Not only can your video production devices be connected anywhere on the network over IP, now you can control your production from anywhere on the network as well.”
LivePanel ships with panels designed to control various aspects of the workflow – including switching, audio, media playback, scoreboards, and macro triggering. LivePanel makes it possible for every operator to design their own layouts, controls and video preview windows as necessary. Basic user-defined panels can be created with LivePanel Builder to assign complex sequences and time-based effects to a single button. Fully configurable custom menus and buttons of any size may be built with custom images, text, color and video previews identifying each control function.
From an IP Series platform for example, LivePanel can be configured to preview any of the up to 44 video inputs, including 4K inputs, 20 internal graphics and media channles, or any outputs over SDI or IP. LivePanel is served directly from software built into the IP Series or TriCaster TC1 and devices do not require any installation or even a connection to a public internet. It runs on any device, browser, or operating system – Windows, Mac, Linux, Android, or iOS. This makes it simple to have on-camera talent control portions of the production with a tablet or even their mobile phone.
NewTek LivePanel is available now on NewTek IP Series at no additional cost and optionally available on TriCaster TC1 in the next software release for $995 (UK pricing coming your way when we have it).