Saturday, December 17, 2011
Another 1st: The Arri Alexa comes to Central Ohio!
Another 1st:
The Arri Alexa comes to Central Ohio!
I have never seen an avalanche of cameras like the one I have witnessed this year. At Ohio HD Video we have added 9 new cameras to the inventory since the beginning of the year! From the Panasonic’s AF-100, Sony’s new PMW F3 CineAlta, Sony FS100 and now the cherry on the top the Arri ALEXA. Once again Ohio HD Video is proud to bring the most relevant gear in our industry to our local market. The Arri ALEXA is becoming the most widely accepted camera used to acquire high-end digital images for commercials and features. In addition to it’s amazing image quality, we are most excited about it’s potential to streamline the post-production workflow. The ALEXA has three main post paths: Shoot to Edit (ProRes), Uncompressed HD and Uncompressed RAW. Each has its virtues and each is well supported today.
Perhaps most compelling for our market is its ability to shoot to SXS cards using two slots internal to the camera. ALEXA calls it a Shoot to Edit workflow, which in the language of ARRI means finished video already compiled into a codec that can be loaded directly into an edit system for post. Currently, ALEXA uses ProRes in both 422 and 444 varieties. In compression quality, it is second only to master-level formats such as HDCAM SR. ProRes is a native format for Apple’s Final Cut Pro and can now also be used natively on the latest version of Avid Media Composer.
ALEXA records ProRes onto Sony SxS cards, the same compact and reliable media Sony uses for its XDCAM EX cameras. A 32GB SxS Pro card can hold about 20 minutes of ProRes 422 or 15 minutes of ProRes 4444. Recording in ProRes, ALEXA is a compact and self-contained camera. The SxS cards can move directly from the camera to an edit system, and post work can begin immediately with no capturing or recompression. This can cut hours from your post workflow and make the ALEXA a very affordable option for your next shoot. Call us to arrange a time when we can show you all that this impressive camera has to offer or check out the Arri ALEXA web resources to learn more. You can also check out Andy Shipsides, Able Cine blog on an ALEXA/FCP workflow.
SONY F800 XDCam Optical Disc Camera at Ohio HD
SONY F800
XDCam Optical Disc: This 2/3" HD Cine Alta Camera is the perfect camera when you don't want to shoot to tape but need to archive footage!Time-lapse
Time-lapse
Outdoor Solar Powered Time-lapse: One of the more challenging projects we had recently required us to place a camera outside on a roof for three weeks with no access to power. After some searching we found a rig from Harbortronics which we now have available for rent. The rig comes complete with a Canon Rebel XS, Digisnap Intervelometer, and large battery all contained inside a weatherproof housing with a solar panel on top for continuous charging. The perfect way to get the impossible shot!ENG Powered Zoom!
ENG Powered Zoom!
B4 to 35mm PL Adapter & Sony F3 viewfinder adapter: One of the big challenges we face today is trying to shoot "ENG Style" with all the new 35mm sensor cameras. Sure these cameras make great images working off dollies, sliders and tripods, but it gets a little trickier when trying to follow live action and shooting off the shoulder. One of the cooler items we picked up this year can help greatly with this. It's an optical B4 2/3" lens to PL adapter which lets you make use of some great 2/3" HD lenses from Canon or Fujinon that have an integrated powered zoom motor. This adapter only uses two stops of light and makes ENG shooting a breeze. Viewfinders have also been a challenge in the brave new world of large sensor cameras. One of the most popular of these cameras is the Sony F3. Our latest adaptive solution will let you use a traditional Panasonic HD viewfinder with the F3 to ensure crisp focus and a more ergonomic way to work with the camera.Fast, Lightweight Zooms!
Fast, Lightweight Zooms!
Angenieux Optimo DP: In a ongoing effort to bring great glass to our market we have added two new premium Angenieux lenses. The first is the Optimo DP 16-42. The Optimo DP 16-42 with an aperture of T2.8 is a lightweight and compact PL mount zoom lens and delivers the superior zoom optics, functionality and ergonomics that DP’s demand. The Optimo DP 30-80 has an aperture of T2.8 and brings the very best of film to the new world of large format digital production. These lenses compliment each other very well.WiFi Video to your Ipad!
WiFi Video to your Ipad!
Teradek Cube Encoder/Decoder: Last year Ohio HD learned about the Teradek Cube and bought one to try. At that point the technology was very new and we had to return it because the video latency was too long to be useful on set. This year we gave the Teradek another try and it has proven to be amazing. The Teradek is a box about the size of a deck of cards that mounts to the camera and connects to the SDI output. It then encodes the signal and generates its own WiFi network. In this configuration it can send a wireless signal to up to three Ipads with less than a 1/2 second delay. It can also be setup to stream the video to clients in another part of the building or across the country. We see all kinds of cool aplications for this device on the set. The gaffer or the art director can have their own monitors for making quick lighting adjustments, and directors and clients are no longer stuck in video village.Seasons Greetings from Ohio HD!
Building a Full Service Rental in Central Ohio: Three years ago when we added the RED One to our inventory I was unaware that we were taking the first steps on a path to becoming the first full service camera rental house in central Ohio. Today with much support from the local production community we are well on our way to providing that much needed resource right here in Columbus. Our goal has been and will continue to be to bring the latest production gear into market and back it up with technical knowledge and educational support. This year we added 14 new cameras to our inventory including the much-coveted Arri Alexa, Sony's F3, FS-100 and F800 XDCam optical disc camera. We were also proud to make Casey Hunter the full time rental equipment manager at Ohio HD Video & Cine this year. For those those of you who have had the chance to work with Casey, either on the set or in our shop, it's easy to recognize his commitment to excellence. Casey and I strive to make sure our gear is tested before each rental to ensure every shoot is free of costly technical issues and delays.
This year we will continue to invest in new gear, so the tools you need to create top notch content for your clients is always well maintained and available close to home. We will also continue our education and work with other members of the community to make sure there are trained resources in the market who know how to get the most out of these new technologies. In addition the open house events we have had this past year, we are looking to develop hands-on workshops and bring in experts from other markets to gain from their experience.
This year we will continue to invest in new gear, so the tools you need to create top notch content for your clients is always well maintained and available close to home. We will also continue our education and work with other members of the community to make sure there are trained resources in the market who know how to get the most out of these new technologies. In addition the open house events we have had this past year, we are looking to develop hands-on workshops and bring in experts from other markets to gain from their experience.
I would like to personally thank you for all of your support in the past. We love hearing your feedback and we look forward to serving your camera, lensing, and technical needs in 2012 and beyond.
Scott Handel
Founder Ohio HD Video & Cine
REDs and Epics and Scarlets Oh My!
Thursday, June 30, 2011
Ohio HD Video Summer Open House
You are invited to attend...
Wednesday, July 20, 2011 1:00 pm until 5:00 pm
Open House & Columbus 48 Hour Film Project Pre-Party
It's hard to believe that we are already two weeks into the summer and the Columbus 48 Hour Film Project is just around the corner. We have been receiving new cameras and camera gear all spring and want to take this chance to share it with you!
Come out and check all the new large sensor models:
Panasonic Af-100
Sony F3
Sony FS-100
RED ONE MX
Canon 5D Mark II
Canon 7D
We also have Monitors, View Finders, Matte Boxes, Handheld Rigs, Sliders, Jibs and all kinds of other cool stuff.
Haven't firmed up your Camera Package for the Columbus 48 Hour Film Project?
We will have a silent auction with low reserve bids for those of you that want to bid on a package for the weekend of the 48.
Event Details:
Location: The Backlot
3465 Noe Bixby Rd.
Columbus, OH 43232
Time: July 20, 2011 From 1pm until 5pm
July 21, 2011 From 3pm until 9pm (Bon Fire & Refreshments)
Details are still coming together. Come out to check out the new gear and network with other gear geeks.
Ohio HD Video Summer Open House
Wednesday, July 20, 2011 1:00 pm until 5:00 pm
Thursday, July 21, 2011 3:00 pm until 9:00 pm
It's hard to believe that we are already two weeks into the summer and the Columbus 48 Hour Film Project is just around the corner. We have been receiving new cameras and camera gear all spring and want to take this chance to share it with you!
Come out and check all the new large sensor models:
Panasonic Af-100
Sony F3
Sony FS-100
RED ONE MX
Canon 5D Mark II
Canon 7D
We also have Monitors, View Finders, Matte Boxes, Handheld Rigs, Sliders, Jibs and all kinds of other cool stuff.
Haven't firmed up your Camera Package for the Columbus 48 Hour Film Project?
We will have a silent auction with low reserve bids for those of you that want to bid on a package for the weekend of the 48.
Event Details:
Location: The Backlot
3465 Noe Bixby Rd.
Columbus, OH 43232
Time: July 20, 2011 From 1pm until 5pm
July 21, 2011 From 3pm until 9pm (Bon Fire & Refreshments)
Details are still coming together. Come out to check out the new gear and network with other gear geeks.
Wednesday, March 23, 2011
March Newsletter from Ohio HD Video
Here's the latest news and gear arrivals from Ohio HD Video and Cine Rental. Check it out and subscribe to our Blog Feed.
Ohio HD March Newsletter
Ohio HD March Newsletter
Convergent Design unveils Gemini 4:4:4
I thought I would pass on this article from Convergent Design, the guys who make the NanoFlash. This new recorder could be the perfect combo for the Sony F3.
Convergent Design unveils Gemini 4:4:4,
The first Affordable Uncompressed Recorder
Newsletter editor Amber Cowles, interviews Mike Schell, President of Convergent Design, about the new Gemini 4:4:4 full uncompressed recorder.
Can you give us a brief description of your new HD recorder: Gemini 4:4:4?
Gemini 4:4:4 is a revolutionary full uncompressed HD recorder which stores video/audio data onto two removable 1.8” SSDs (Solid State Drive) for playback/transfer to a PC/MAC. Gemini supports most HD/2K formats in 4:2:2/4:4:4, 8/10-bit formats with single-link HD-SDI/3G or dual-link. A built-in 5.0” sunlight viewable (800 cd/m²), 24-bit, 800x480 color LCD touch-screen serves as a high-quality monitor and playback screen. Gemini also features an industry first: the unique ability to record to both drives simultaneously, creating identical masters.
The 1-lb Gemini with milled aluminum case measures 5.4 x 4.5 x 1.1” or about the same size as the popular SmallHD DP6 monitor. But, of course, Gemini also includes recording, playback, image processing, etc, etc.
Convergent Design has been very successful with the nanoFlash, why go uncompressed?
With an installed base of over 3,500 recorders, nanoFlash has been a huge home-run for Convergent Design. However, while many users are very pleased with the 8-bit MPEG compressed video from the nanoFlash, we’ve received continual requests for higher bit-rates, 10-bit, and greater color sampling (4:4:4) as well as 2K/1080p50/60 support. All these goals were simply outside the design capabilities of nanoFlash.
After considerable technical research, we determined that an affordable uncompressed HD recorder was now feasible. This, coupled with the recent introduction of low-noise high-quality cameras, like the Sony F3, opened the market for our third-generation recorder.
Are you guys crazy, uncompressed is a ton of data?
Yes, uncompressed is a lot of data, typically in the range of 125 to 150 MBytes/sec (1000 to 1200 Mbits/sec). But, technology advancements now make full-uncompressed workflow quite manageable and affordable. For example, using the new 10Gbps Thunderbolt technology from Apple/Intel, it is now very reasonable to edit uncompressed using a laptop. New $180, 3-TByte (TeraByte) HDDs enable portable RAID arrays with 9-12 TBytes of storage (sufficient for 18-24 hours of uncompressed 1080p24 4:2:2 10-bit).
Full uncompressed capture/editing enables the ultimate in quality with no compression artifacts, added noise, or multigenerational losses. But, you still have the option to work in CineForm/DNxHD/ProRes, etc. via a simple encode process (using programs such as Compressor or Media Encoder).
So Gemini lets you choose any CODEC you want?
Precisely! The uncompressed HD-SDI output from your camera is exactly the same data that is fed to the internal in-camera hardware CODEC. While your camera (and most recorders) only supports one CODEC, Gemini frees you to use any CODEC/format.
We found that oftentimes the workflow and editing system is not well defined at the beginning of a production, or the client may want the footage in a different CODEC/format. Gemini gives you the flexibility to deliver accordingly, at the best possible quality levels. So after two weeks of shooting, when the director brings word that you’re changing from PC to MAC (or vice versa), you’re ready to encode that pristine uncompressed footage into a new CODEC / format, while maintaining the highest possible quality.
Consider also, that all professional video is ultimately transferred off the capture-media (typically Flash) onto HDDs, optical media or LTO Tape. Using high-performance multi-core processors, you can transfer and encode with little additional time penalty (compared to a simple transfer). For example, using an 8-core Mac Pro we’re getting transfer (SSD → HDD) + encode (to ProRes HQ) at 1/2 real-time. So, 30 minutes of uncompressed 1080p24 video requires a total of 15 minutes to transfer off the SSD and encode to ProRes. By comparison, a simple transfer of the same footage (without encode) occurs in 1/3 real-time, or 10 minutes.
Earlier you mentioned dual recording capability, can you elaborate on this feature?
Gemini offers two recording modes: span data across both drives, for longer record times or simultaneously record the same video to both SSDs, creating two masters (auto backup).
Two masters bring the added insurance against lost footage, while enabling some innovative work flows. For example, one SSD can go directly to the online edit station, while the second SSD can be used to generate offline proxies or H.264 footage for mobile devices / internet upload.
Speaking of media, why the switch from Compact Flash to SSD?
Compact Flash is a great choice for most compressed recorders, but it simply lacks the required performance for uncompressed video. Compact Flash tops out at about 90 Mbytes/sec, while uncompressed video ranges from 100 to over 300 Mbytes/sec; so clearly, it’s impossible to record uncompressed video onto a single CF card. Additionally, CF card capacity maxes out at 128GB, while SSDs are now available up to 512GB.
Built on cutting-edge 25nm technology, Gemini SSDs provide read/write speeds of 415/260 (Mbytes/sec) respectively. For most video formats, a single SSD has a sufficient bandwidth; however, 1080p50/60 formats generate over 300 Mbytes/sec, requiring us to strip the data across both drives. We do, however, combine the data into a single file during the offload of the SSDs to your MAC/PC.
High-Speed SSD media is currently available in the following sizes and storage capacities:
256GB SSD → 32 minutes @ 1080p24 4:2:2, 10-bit
512GB SSD → 64 minutes @ 1080p24 4:2:2, 10-bit
Using 512GB SSDs and spanning across the two drives, you’ll get a generous 128 minutes of uncompressed 1080p24 record time on Gemini (without swapping drives).
OK, but everyone knows that uncompressed recorders are big, heavy, power-hungry, and expensive. What makes Gemini so different?
Gemini follows the highly-successful design philosophy of nanoFlash to make the smallest, lightest-weight, lowest-power recorder that current technology will allow. So instead of building a PC-based recorder, which consumes 60 to 75 watts of power, we designed full-custom hardware drawing 8 to 15 Watts. Rather than designing proprietary Flash mags, we utilized off-the-shelf SSD drives, dramatically reducing both the media and transfer-station cost. (Editor’s note: The Gemini recorder package includes a 6Gbps SSD transfer station).
Machined from solid aluminum billets, the case is very strong and lightweight, making Gemini ideal for extreme environments. The lower power enables completely silent operation (no fans) and a wide operating temperature range (projected to be -30 to +50 C).
At a volume of only 10% greater than the hand-held nanoFlash, a weight of only 1 lb, and a low-power budget, Gemini is far smaller/lighter/less power hungry than most uncompressed or compressed recorders!
Gemini obviously supports 4:4:4, but what about S-Log?
S-Log, as you may know, maps 12-bit (or higher) linear data into a 10-bit log space (for transmission over HD-SDI, which is limited to 10-bits). Gemini maintains the highest possible quality, by recording 10-bit S-Log video in an uncompressed format, so there’s absolutely no added noise or artifacts.
Gemini also supports user-programmable 1D viewing LUTs, which can be selectively enabled for one or more of the SDI/HDMI outputs. Additionally, in dual record mode, you can simultaneously record the native S-Log video to one SSD (online) and the same video with burned-in LUTs to the second SSD (offline / H.264 generation).
Will Gemini have a 3D or stereo option?
Yes. From the beginning Gemini was conceived as a dual stream recorder. Gemini will independently record two video streams to individual SSDs, for all formats except 1080p50/60. You can synchronously play-out the two individual streams or combine into side-by side, 50/50 composite or anaglyph formats. Gemini uniquely allows you to simultaneously view 3D video in multiple formats, such as side by side and 50/50 composite, which should be very helpful in 3D camera alignment.
Is Gemini going to replace the nanoFlash?
By no means, Gemini compliments the nanoFlash. nanoFlash will continue to find applications needing long record times (10 hours), and/or requiring a strictly compressed workflow. At $1/minute (50 Mbps) for the Compact Flash media, nanoFlash still offers the lowest media cost for broadcast quality video.
Everyone hates to see their latest purchase upstaged, will Gemini be obsolete in 6 months?
HD will be the mainstream delivery format for the foreseeable future. Gemini already supports all the major HD formats up 1080p60 as well as S-Log, 4:4:4, Dual-Link, 3G, and 16-Channel Audio. 3D will be available, through an optional firmware upgrade. So, it’s really hard to imagine obsolescence any time soon.
Based on customer feedback, Convergent Design added feature after feature on the nanoFlash, at no charge. Will Gemini follow a similar pattern?
Yes, although most of the nanoFlash features, with the exception of pre-record buffer, should be enabled when Gemini ships. That said, we anticipated many special requests, so Gemini was designed with 5X the programmable logic compared to nanoFlash, giving us quite a bit of room to grow (feature-wise, that is).
What are the target markets/applications?
If you a filmmaker/cinematographer/Indie producer (or aspire to be one), then Gemini is a perfect choice. Sony F3 owners with S-Log and 4:4:4 will likely find Gemini an invaluable addition, as these capabilities are far beyond the native recording capability within the camera. The lightweight and low-power of the Gemini, make it ideal for Steadicam operators and anyone shooting in extreme environments, such in jungles, underwater, at high-altitude, etc.
OK, Gemini offers the ultimate quality and flexibility, but is it affordable?
The base Gemini package includes the recorder, an SSD to eSATA transfer-station, AC power supply and cables in a custom-fitted hard-case for US $5995 (retail). Prices for the 256GB and 512GB SSDs will be announced at NAB.
Other recorders may offer different features, but no recorder offers better video quality than Gemini 4:4:4.
Convergent Design unveils Gemini 4:4:4,
The first Affordable Uncompressed Recorder
Newsletter editor Amber Cowles, interviews Mike Schell, President of Convergent Design, about the new Gemini 4:4:4 full uncompressed recorder.
Can you give us a brief description of your new HD recorder: Gemini 4:4:4?
Gemini 4:4:4 is a revolutionary full uncompressed HD recorder which stores video/audio data onto two removable 1.8” SSDs (Solid State Drive) for playback/transfer to a PC/MAC. Gemini supports most HD/2K formats in 4:2:2/4:4:4, 8/10-bit formats with single-link HD-SDI/3G or dual-link. A built-in 5.0” sunlight viewable (800 cd/m²), 24-bit, 800x480 color LCD touch-screen serves as a high-quality monitor and playback screen. Gemini also features an industry first: the unique ability to record to both drives simultaneously, creating identical masters.
The 1-lb Gemini with milled aluminum case measures 5.4 x 4.5 x 1.1” or about the same size as the popular SmallHD DP6 monitor. But, of course, Gemini also includes recording, playback, image processing, etc, etc.
Convergent Design has been very successful with the nanoFlash, why go uncompressed?
With an installed base of over 3,500 recorders, nanoFlash has been a huge home-run for Convergent Design. However, while many users are very pleased with the 8-bit MPEG compressed video from the nanoFlash, we’ve received continual requests for higher bit-rates, 10-bit, and greater color sampling (4:4:4) as well as 2K/1080p50/60 support. All these goals were simply outside the design capabilities of nanoFlash.
After considerable technical research, we determined that an affordable uncompressed HD recorder was now feasible. This, coupled with the recent introduction of low-noise high-quality cameras, like the Sony F3, opened the market for our third-generation recorder.
Are you guys crazy, uncompressed is a ton of data?
Yes, uncompressed is a lot of data, typically in the range of 125 to 150 MBytes/sec (1000 to 1200 Mbits/sec). But, technology advancements now make full-uncompressed workflow quite manageable and affordable. For example, using the new 10Gbps Thunderbolt technology from Apple/Intel, it is now very reasonable to edit uncompressed using a laptop. New $180, 3-TByte (TeraByte) HDDs enable portable RAID arrays with 9-12 TBytes of storage (sufficient for 18-24 hours of uncompressed 1080p24 4:2:2 10-bit).
Full uncompressed capture/editing enables the ultimate in quality with no compression artifacts, added noise, or multigenerational losses. But, you still have the option to work in CineForm/DNxHD/ProRes, etc. via a simple encode process (using programs such as Compressor or Media Encoder).
So Gemini lets you choose any CODEC you want?
Precisely! The uncompressed HD-SDI output from your camera is exactly the same data that is fed to the internal in-camera hardware CODEC. While your camera (and most recorders) only supports one CODEC, Gemini frees you to use any CODEC/format.
We found that oftentimes the workflow and editing system is not well defined at the beginning of a production, or the client may want the footage in a different CODEC/format. Gemini gives you the flexibility to deliver accordingly, at the best possible quality levels. So after two weeks of shooting, when the director brings word that you’re changing from PC to MAC (or vice versa), you’re ready to encode that pristine uncompressed footage into a new CODEC / format, while maintaining the highest possible quality.
Consider also, that all professional video is ultimately transferred off the capture-media (typically Flash) onto HDDs, optical media or LTO Tape. Using high-performance multi-core processors, you can transfer and encode with little additional time penalty (compared to a simple transfer). For example, using an 8-core Mac Pro we’re getting transfer (SSD → HDD) + encode (to ProRes HQ) at 1/2 real-time. So, 30 minutes of uncompressed 1080p24 video requires a total of 15 minutes to transfer off the SSD and encode to ProRes. By comparison, a simple transfer of the same footage (without encode) occurs in 1/3 real-time, or 10 minutes.
Earlier you mentioned dual recording capability, can you elaborate on this feature?
Gemini offers two recording modes: span data across both drives, for longer record times or simultaneously record the same video to both SSDs, creating two masters (auto backup).
Two masters bring the added insurance against lost footage, while enabling some innovative work flows. For example, one SSD can go directly to the online edit station, while the second SSD can be used to generate offline proxies or H.264 footage for mobile devices / internet upload.
Speaking of media, why the switch from Compact Flash to SSD?
Compact Flash is a great choice for most compressed recorders, but it simply lacks the required performance for uncompressed video. Compact Flash tops out at about 90 Mbytes/sec, while uncompressed video ranges from 100 to over 300 Mbytes/sec; so clearly, it’s impossible to record uncompressed video onto a single CF card. Additionally, CF card capacity maxes out at 128GB, while SSDs are now available up to 512GB.
Built on cutting-edge 25nm technology, Gemini SSDs provide read/write speeds of 415/260 (Mbytes/sec) respectively. For most video formats, a single SSD has a sufficient bandwidth; however, 1080p50/60 formats generate over 300 Mbytes/sec, requiring us to strip the data across both drives. We do, however, combine the data into a single file during the offload of the SSDs to your MAC/PC.
High-Speed SSD media is currently available in the following sizes and storage capacities:
256GB SSD → 32 minutes @ 1080p24 4:2:2, 10-bit
512GB SSD → 64 minutes @ 1080p24 4:2:2, 10-bit
Using 512GB SSDs and spanning across the two drives, you’ll get a generous 128 minutes of uncompressed 1080p24 record time on Gemini (without swapping drives).
OK, but everyone knows that uncompressed recorders are big, heavy, power-hungry, and expensive. What makes Gemini so different?
Gemini follows the highly-successful design philosophy of nanoFlash to make the smallest, lightest-weight, lowest-power recorder that current technology will allow. So instead of building a PC-based recorder, which consumes 60 to 75 watts of power, we designed full-custom hardware drawing 8 to 15 Watts. Rather than designing proprietary Flash mags, we utilized off-the-shelf SSD drives, dramatically reducing both the media and transfer-station cost. (Editor’s note: The Gemini recorder package includes a 6Gbps SSD transfer station).
Machined from solid aluminum billets, the case is very strong and lightweight, making Gemini ideal for extreme environments. The lower power enables completely silent operation (no fans) and a wide operating temperature range (projected to be -30 to +50 C).
At a volume of only 10% greater than the hand-held nanoFlash, a weight of only 1 lb, and a low-power budget, Gemini is far smaller/lighter/less power hungry than most uncompressed or compressed recorders!
Gemini obviously supports 4:4:4, but what about S-Log?
S-Log, as you may know, maps 12-bit (or higher) linear data into a 10-bit log space (for transmission over HD-SDI, which is limited to 10-bits). Gemini maintains the highest possible quality, by recording 10-bit S-Log video in an uncompressed format, so there’s absolutely no added noise or artifacts.
Gemini also supports user-programmable 1D viewing LUTs, which can be selectively enabled for one or more of the SDI/HDMI outputs. Additionally, in dual record mode, you can simultaneously record the native S-Log video to one SSD (online) and the same video with burned-in LUTs to the second SSD (offline / H.264 generation).
Will Gemini have a 3D or stereo option?
Yes. From the beginning Gemini was conceived as a dual stream recorder. Gemini will independently record two video streams to individual SSDs, for all formats except 1080p50/60. You can synchronously play-out the two individual streams or combine into side-by side, 50/50 composite or anaglyph formats. Gemini uniquely allows you to simultaneously view 3D video in multiple formats, such as side by side and 50/50 composite, which should be very helpful in 3D camera alignment.
Is Gemini going to replace the nanoFlash?
By no means, Gemini compliments the nanoFlash. nanoFlash will continue to find applications needing long record times (10 hours), and/or requiring a strictly compressed workflow. At $1/minute (50 Mbps) for the Compact Flash media, nanoFlash still offers the lowest media cost for broadcast quality video.
Everyone hates to see their latest purchase upstaged, will Gemini be obsolete in 6 months?
HD will be the mainstream delivery format for the foreseeable future. Gemini already supports all the major HD formats up 1080p60 as well as S-Log, 4:4:4, Dual-Link, 3G, and 16-Channel Audio. 3D will be available, through an optional firmware upgrade. So, it’s really hard to imagine obsolescence any time soon.
Based on customer feedback, Convergent Design added feature after feature on the nanoFlash, at no charge. Will Gemini follow a similar pattern?
Yes, although most of the nanoFlash features, with the exception of pre-record buffer, should be enabled when Gemini ships. That said, we anticipated many special requests, so Gemini was designed with 5X the programmable logic compared to nanoFlash, giving us quite a bit of room to grow (feature-wise, that is).
What are the target markets/applications?
If you a filmmaker/cinematographer/Indie producer (or aspire to be one), then Gemini is a perfect choice. Sony F3 owners with S-Log and 4:4:4 will likely find Gemini an invaluable addition, as these capabilities are far beyond the native recording capability within the camera. The lightweight and low-power of the Gemini, make it ideal for Steadicam operators and anyone shooting in extreme environments, such in jungles, underwater, at high-altitude, etc.
OK, Gemini offers the ultimate quality and flexibility, but is it affordable?
The base Gemini package includes the recorder, an SSD to eSATA transfer-station, AC power supply and cables in a custom-fitted hard-case for US $5995 (retail). Prices for the 256GB and 512GB SSDs will be announced at NAB.
Other recorders may offer different features, but no recorder offers better video quality than Gemini 4:4:4.
Tuesday, February 1, 2011
Nexto Video Storage Pro+ NVS2525 makes field data easier to wrangle
Ohio HD Video has just added a really cool device for everyone who has been struggling with a data solution for the field. Weather you shoot Compact Flash, SD Cards, SxS or P2 solid-state cards this one button back-up solution may be your answer.
For reviewing footage as thumbnails or to preview video clips, the NVS2525 has an LCD screen and can preview XDCAM EX or many other formats including Convergent Design nanoFlash files, HDV and most Panasonic DVCPro, AVCHD and AVC-Intra files.
It allows users to plug in a second eSATA or USB hard drive to generate a second copy without needing a laptop. It can also burn back-up folders to a Blu-ray drive.
If video files contain a bad sector they might not load onto a computer for editing, so the NVS2525 recovers bad sectors to make a useable file. Although a few frames may be lost, the rest can then be used.
The NextoVideo Storage Pro+ NVS2525 is now available for your next shoot @ Ohio HD Video & Film Rental
The Nexto Video Storage Pro+ NVS2525 is designed to back up a 32GB SxS or P2 card in seven minutes, at up to 80MB per second. It then performs verification, comparing the file on the card to the file on the hard disk to make sure the data is copied accurately (this takes the same time again). At the end of each backup, it automatically generates an html-based Index file containing a decoded frame and metadata that can be viewed in any web browser.
For reviewing footage as thumbnails or to preview video clips, the NVS2525 has an LCD screen and can preview XDCAM EX or many other formats including Convergent Design nanoFlash files, HDV and most Panasonic DVCPro, AVCHD and AVC-Intra files.
It allows users to plug in a second eSATA or USB hard drive to generate a second copy without needing a laptop. It can also burn back-up folders to a Blu-ray drive.
If video files contain a bad sector they might not load onto a computer for editing, so the NVS2525 recovers bad sectors to make a useable file. Although a few frames may be lost, the rest can then be used.
The NextoVideo Storage Pro+ NVS2525 is now available for your next shoot @ Ohio HD Video & Film Rental
Tuesday, January 18, 2011
A Focus on Lenses
Lensing may be the most important element in producing compelling images. We added two prime lens sets to the inventory this year, including the industry standard Ziess T2.1 Speeds. More recently the newest lenses in the Carl Zeiss Family arrived at Ohio HD. We are very excited to have the Zeiss Compact Primes or (CP.2) Lenses available. Everyone who has worked with these lenses agrees that this new lens technology has a great form factor and delivers clean crisp images with amazing contrast. The set includes 28, 35, 50, 85 & 100mm lenses all at a T2.1. We have also taken delivery of a new PL mount 11-16mm wide-angle zoom.
Scott Handel
President
Monitors… Both Large & SmallHD
LCD monitoring has come a long way in the past couple of years. I have finally given up bringing a CRT monitor to the set to double check focus and exposure. The angle of view and resolutions have improved on many monitors and Ohio HD has added a few new ones to the inventory. Among those, our new large 25” Panasonic HDSDI monitor is the perfect onset client monitor. It has a built in waveform/vector scope, embedded time code, various gamma set-ups & an amazing picture. One other new addition from NAB is a great little monitor from SmallHD. It sports an amazing picture, a 5.6” screen, HDSDI & HDMI inputs. It’s a great HDSLR accessory at $90 per day.
Scott Handel
President
Skaters & Sliders
In April I was at NAB, when I met Etienne from MYT Works. He showed me their prototype slider system and I thought it was the best slider I had seen to date. I put down my deposit and the waiting began. The promised delivery date came and went but finally, I received their small 3in1 and large 3in1 slider packages on Jan. 3rd. After checking them out this week I can honestly say it was worth the wait. If you are looking for a great way to add some motion to your shots with very little setup time these sliders are just the trick.
Scott Handel
President
Announcing the AF-100
The Panasonic AF-100 is the hottest new camera this year. Ohio HD Video is fortunate to have two of these amazing cameras in our rental inventory that are ready to rent today! If you have been uncomfortable with all of the HDSRL challenges, but want an affordable camera with a large sensor and more lensing options, this is the camera for you. This Micro 4/3s camera is has XLR inputs, a flip out HD monitor, time code in/out, variable frame rates and more. Our packages with lenses start at $400.00.
Scott Handel
President
Monday, January 17, 2011
To Rent or Buy?
The lifespan of the average camera these days is only about three years.
Camera prices have fallen steadily over the past ten years, making cameras seem more affordable. But gone are the days when you have a format like Betacam SP that lasts for 10 to 15 years. Cameras are outmoded more quickly as new formats and features emerge. Everyone gets drawn into the latest fad in shooting, and that encompasses not only the camera but in many cases a host of accessories that may cost more than the camera itself. When you give up the debt that comes with gear ownership you are able to match the right tools to each job. In doing so you enable yourself to be a storyteller and not just a servant of the technology.
Ohio HD Video has many ideas and can help you accomplish your production goals. We welcome your calls and invite you to set up a time to visit our shop. We love to talk about the cameras and talk about workflow. We are happy to let you touch the cameras and get a real sense of how they will work in the field on your next project.
Scott Handel,
The Migration from ENG to Cine Style Production
It wasn’t long ago that when you thought about production you were left with two choices… Video or Film?
Four years ago at NAB, I came face to face with the RED camera. Since that time, I, along with much of the production world, has been on a path where the worlds of video and film are colliding. This year saw those worlds come closer than ever. The HDSLR movement really caught momentum as third-party vendors brought more and more gear to the market striving to bridge the gap between amazing images and an impractical form factor. At Ohio HD Video, we brought together gear from Zacuto, Red Rock, Cinevate, Chrosziel, Black Magic, Small HD, Zeiss, Arri, MYT Works, O’Connor, Sound Devices, and View Factor to find the best solutions to the HDSLR challenges.
 |
| Panasonic AF-100 |
On New Year’s Eve 2010, we took our last delivery of new equipment. We unpacked two new Panasonic AF-100s, which I believe will usher in the next industry trend, the hybrid HDSLR/Video Camera. A HDSLR Sensor inside a traditional video camera body with XLR inputs and time code that uses cine style prime lenses like our set of new Carl Zeiss Compact Primes.
 |
| Zeiss CP.2 Lens Set |
As 2011 unfolds, Ohio HD Video remains committed to being your production resource.
Scott Handel
Subscribe to:
Posts (Atom)