When does production become post?

When does production become post?

The increasingly common combination of high shoot ratios and tight deadlines puts pressure on facilities to increase efficiencies across production and post. In an effort to reduce turnaround times and cut down the amount of time spent on non-billable activities, production and post teams are now working together from far earlier into the production schedule, with post houses sending staff to set to ensure footage is logged as soon after the shoot as possible, and DITs performing post-critical functions.

Manufacturers are keen to facilitate this collaboration – AJA seem to have kicked off the scramble to unite the two when they released the first Ki Pro back in 2009, and noone seems to have paused for breath since. But there are dozens of factors to consider when planning your workflow, from whether you’ll be handling HDR footage, to IP integration, to the impact of the incoming 5G connectivity standard. With that in mind, we’re taking a look at a few different points of contact, and how you can make sure your workflow there is mutually beneficial for production and post.

Shooting and monitoring

Accurate metadata can speed up post-production immensely, by making it far easier for artists to match the original scene conditions when compositing, compensate for issues with specific cameras or lenses when correcting footage, and more.

Zeiss are currently setting the standard for incredibly detailed metadata with the new eXtended Data lens, the CP.3 XD. As well as giving your DoP precision, quality and all the other benefits of working with Zeiss glass, XD lenses create a huge amount of metadata about each shot, containing details not just of features like focal length and exposure, but details about the lens itself. In post, tweaking this metadata becomes a quicker, easier way to compensate for lens shading, or to correct for the different distortions of individual lenses used in production. When compositing, the metadata drastically cuts down the amount of trial and error (and therefore time) needed for artists to match on-set lighting conditions. This ultimately drives down the time and money needed for post, and so could even help buy you more time on set.

Monitor and recorder manufacturers Atomos have attempted to bring a similar spirit of cooperation to monitoring with their newly announced SUMO 19 HDR production/grading monitor, which can record dailies, proxies or 4Kp60 masters as needed.  This means camera crews can see what they’ve captured in HDR, as it will appear to post teams, and be sure they’re happy with the shot as it appears, rather than having to guess based off a Rec.709 image. The recording feature also means that dailies (or a low res proxy, if you have limited bandwidth/storage) can be send to a post facility immediately, and assembly can begin far earlier than usual.

Solutions like this are making it easier for production and post crews to maintain a common vision of the project throughout, and reduce the time taken to create the final product without limiting either party’s options in that way that, say, Sony baking HLG into footage from some of its lower-end cameras does.

Logging and metadata

Loggers and ingest technicians are increasingly venturing out to log footage as close to set as possible. While data and asset management has been an intrinsic part of post for a long time, it’s now widely acknowledged that by focusing more on this on set, crews can increase the overall efficiency of the project, and drastically reduce the time needed to put everything together in post.

Asset management systems like axle Video are excellent – axle is particularly good if you’re new to this, as you can just point it at your file system and it will automatically index all media files, then update its database automatically in realtime as you add new footage. You can then share low res proxies through a web browser so that people can reject, trim and comment on clips; it’ll even integrate with NLEs so that editors can search new footage without leaving their editing application. It ships with a standard metadata schema, but you can customise this to the requirements of your shoot.

Avid’s MediaCentral | Asset Management option (formerly Avid Interplay MAM) performs a similar function, indexing media in a range of formats and allowing you to add custom metadata in order to make it easier to find. It even allows you to remotely access assets from multiple locations, so if crews at different locations both log footage, all of it will be available for review at the same time. Avid’s MediaCentral system also allows for a high degree of automation when it comes to things like ingest, logging, archiving and sharing footage, meaning you can achieve more in less time, and with a smaller team.

Cloud delivery

Once footage has been logged, it can be sent back to the post facility, or to a staging post if you’re in a remote location. As the available networks have become faster, cloud delivery has gained popularity, whether that’s ENG crews using in-camera FTP capabilities to send footage back to the newsroom, or crews on location leveraging file sharing services to deliver footage to post as quickly as possible. And with 5G set to make 100Mbps over the air file sharing a reality over the next few years, this option is only set to get more popular.

If you’re collecting or monitoring footage from drones, car-mounted cams and other inaccessible recorders, Soliton’s on-camera encoders and receivers are a great investment – they use a mixture of H.265 compression and proprietary RASCOW technology to ensure you see an HD live stream of your footage even in areas where 3G and 4G coverage is patchy, with delays as low as 240 ms.

For reliable file transfer, we’d recommend IBM’s Aspera service. While it’s pricier than WeTransfer, it uses end to end encryption to to keep your footage secure and, unlike consumer services, doesn’t get slower the larger your files are. Another feature we’re particularly keen on is that it calculates the precise time a transfer will take on your current connection before it begins, so if it says a transfer will take seven hours, you can ring ahead and let your colleagues know when to expect the file with a fairly high degree of certainty.

How does this all fit together?

We can help you develop workflows to maximise efficiency in production and post, and advise on ways to prepare your existing infrastructure for the future, or fold new releases into your existing workflow. As well as providing consultancy, workflow design and specialist hardware, we can provide ongoing support and maintenance for your core kit. To find out more, get in touch with the team on the details below.

If you want to know more, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

IBC 2017: Atomos launches $2K Sumo19M HDR 1200nit high brightness monitor

IBC 2017: Atomos launches $2K Sumo19M HDR 1200nit high brightness monitor

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.

Connections

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.

User interface

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.

Mounting options

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.

Flexible power

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.

Availability

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.

If you want to know more, 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 IBC roundup.

NAB 2017: 19” Sumo monitor-recorder delivers 4KP60 HDR to the set and the studio

NAB 2017: 19” Sumo monitor-recorder delivers 4KP60 HDR to the set and the studio

Atomos once again redefines the workflow options for video creatives by creating the first production/studio monitor to combine a 19” HDR 1200nit 10+ stop panel with 4K 12-bit RAW or 10-bit 422 ProRes/DNxHR recording, HD recording up to 240p or live switching and recording of four 1080p60 channels.

sumo-product-small

 

Adding HDR and 1200nit brightness to a 19” monitor at an MSRP of $2,495 is an amazing feat itself, but the addition of recording, switching and playback is a true revolution, completely redefining how production monitors will be used on set and in studio. It gives clients and crew on set instant access to review recorded content in HDR quality and doubles as a grading and editing monitor for laptops in the field. The live switching and recording is another dimension again adding the flexibility to live switch between four 1080/60p channels, record 4 x ISO channels and mix a live record complete with cueing, cross fade and hard cuts.

“Seeing innovation come to life is the most exciting part of making technology products. Sumo is one of the most remarkable video products I have worked on,” said Jeromy Young CEO and co-founder of Atomos. “Versatile and highly advanced yet simple to use, it covers all kinds of high quality production from end to end at a fraction of traditional costs. The Atomos Sumo is truly revolutionary.”

 Go HDR in the field and the studio


Sumo’s 19” 1920 x 1080 10-bit LCD panel is driven by the AtomHDR engine which precisely maps the Log/PQ/HLG from popular cameras, game consoles or TV makers to perfectly resolve 10+ stops of HDR in real time. The brightness range and vivid colors of HDR bring scenes to life, either on the monitor itself, or when output to larger HDR/Rec709 displays for on-set review. It can also be used with popular NLE or grading suites for affordable HDR or SDR editing or grading in the studio.

12-bit RAW, 10-bit ProRes/DNxHR up to 4Kp60


Capture the RAW output from Sony FS5/FS7/FS700, Canon C300MKII/ C500 or Panasonic Varicam LT over SDI up to 12-bit 4Kp30 as CDNG, or 10-bit Apple ProRes / Avid DNxHR up to 4Kp60 / 2Kp240 depending on the camera’s capability. The processing power of Sumo can preserve pristine quality direct from the sensor with data rates of up to 3.2 Gbps. Record direct to high capacity and widely available 2.5″ SSDs that provide an affordable solution for long recording times.

Live switch and record up to four 1080/60p channels, 4 x ISO record and playback

Switch and mix a live record and stream or record 4 x HD ISO recordings using the QuadLink SDI connections. Switch between feeds on screen with cueing, cross fade and hard cuts from the locked sources or tag and adjust final edits with advanced metadata tagging preserving ISO feeds, with the desired final result infinitely editable.

Balanced XLR monitor and record with 48V Phantom
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Eliminate the need for a separate audio recorder by using the full size XLR connections to connect and power external microphones for balanced analogue audio with dedicated meters and adjustments for frame delay and gain. 48V phantom mics or line level audio are all seamlessly synchronised for the most advanced audio feature set in a monitor today. There is also a 3.5mm stereo headphone jack and built-in speakers for on set instant immersive review or complete internal recording review anytime anywhere with clients or production team.

High Bright 1200nit 19” calibrated 1920×1080 monitor


The extremely bright 1200nit display means you can accurately monitor, even when outside in daylight. Additionally, for the ultimate isolated viewing performance an optional hood is available. Like all high-end monitor’s, Sumo also has calibration to compensate for the natural color and brightness drift that monitors exhibit over time. Sumo’s calibration input lets you use X-Rite’s i1DisplayPro to always ensure accurate HDR and Rec709 monitoring.

Quad SDI & HDMI 2.0 in/out


Seamlessly connect any SDI or HDMI device and convert between HDMI 2.0 & 3G QuadLink/6G/12G SDI in any combination. Quad SDI inputs connect cameras with multiple 1.5 or 3G SDI outputs without the need for converters. HDMI 2.0 supports up to 4Kp60 input/output along with the very latest Atomos open protocol that supports HDR automation including importing of camera settings. There is also support for Genlock and LTC timecode.

Rugged construction and mounting options


The Aluminium alloy chassis with built-in armor houses ten mounting points around the bezel/top/bottom/side, a rear panel VESA mount and an included stand for a variety of mounting configurations. The optional mounting plates connect 2 x V-Lock / Anton Bauer batteries which in tandem with our patent pending continuous power system allows batteries to be hot swapped to ensure you’re never without power in the field. The Sumo delivers all of this connectivity while still maintaining a total weight of 6.2kg (13.7lb).

You can pre-order the 19” Atomos Sumo from Jigsaw24 now for £1995 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.