Video Assist + HD computers FAQ
Software specifically developed for professional video assist (a very incomplete
overview – only personal opinions – manufacturers please don’t shoot me)
Also note that folks who are out there working this stuff everyday do not read this
board (or documents or manuals) EVER. They work with what they have.
Somehow everybody makes due with what’s at hand. No tools are perfect.
Operators in LA expect 24-hour phone and field support. Noone offers that. Field
support is rare. Promised support often is nonexistent. Generally it’s impossible
to get electronic diagrams or shop manuals. Buyer beware. ☺
Sam Cherroff (USA 818 772-4777) Cinelogic site http://videoassist.com
For PC: Single and dual PC based custom database software good for
commercials and especially long form movies: large storage capacity. software
only cost $ 1250.00. Multiple cameras can be linked with one PC each +
software + network cable and do not playback in sync (15-20 frames out of sync
with each others picture). Single camera is always in sync with sound even with
bad RF. For extremely bad RF you need a good TBC. Moderately bad RF will not
Widely distributed. Made in Northridge USA. Reverse + forward playback at all
speeds with excellent pix (field or frame). Can be edited with Premiere or crashy
internal editor. Software 4 is a late beta version since 2005. Stable for some,
crashes for others daily. Most operators say they must back up on tape, some
never ever do and get away with it. In emergencies only there is some phone
support. Summer 2007 Sam still works on the older units to keep them running.
Generally does not build new ones. Used by 400 operators worldwide?
2007: Cinelog-X for Mac (laptop or mini mac) $1250.00 for software only.
Single camera version out, records DV files to internal and external USB, firewire
etc drives and interfaces well with FCP. Can Playback one file and record
another at the same time. No speeds under 6 frames. Needs external Canopus
300 and TBC for good RF writing. Slowmo is so-so but maybe you can get away
with it - maybe. Plays reverse (so so). Said not to crash. Bob Bridges likes it in
Britain. One 4 camera unit for mini-macs in use by Feb 2008 on major film in
USA, first 2 cams are in sync – not sure why (March 08 early beta version). Cine-
mac prices: (2010) Software for 1-9 Cameras $1,250, (2x Mini Mac $1,400, 2x
digitizers $400, monitor KVM etc. $300 = $2,100) +1x Terabyte $150 = $3,500
approx. Read http://movies.groups.yahoo.com/group/VideoAssist/message/2392
Raptor50 has only 8 hours storage, based on FFV Recon board. Multiple
cameras can be linked with computer PC software (minimal editing) and
playback in sync. Needs external TBC for RF recording. Used very widely for
commercials. Good software for IBM can be used to control up to 16 of them. No
editing. 400 in use worldwide. Sometimes used as a reliable short term storage
medium and when time permits folks download selects to computer based
software for long term storage and editing etc. Some people never back up on
tape most careful ones do though, does have occasional hick ups. Sometimes it
takes a while to start up, can’t hit buttons too fast. Easy fast playback, easy jump
back to start frames of previous takes. Cost 2007 about $ 3500.00
New in 2006 records DV format – very large amount of internal storage – more
than 1 terabite [DV files take 1 G for 5 minutes of material]. Many can be linked
for sync playback. Not all features work as of summer 2007. Slowmo is
acceptable (even if slow to get into), Reverse is acceptable but degraded, to
switch from playback to live is said to take 3 seconds at $ 5000 a second on big
features that is unacceptable some say (needs an outboard switch?). Needs only
keyboard, monitor, no internal editing capabilities. DV files can be transported via
USB or Lan network to FCP or Premiere based other computers. etc.
Made in North Hollywood USA with excellent support using only their own
technology and software. Built in TBC by summer 2007 still getting better. works
well with UHF Tx, it will not crash. Used by 50 ? operators in fall 2007. Check at
purchase time if the little inconveniences have been dealt with. Slower to
respond than Paptor 50, takes 2 sec to start playing back…makes amped up
directors crazy. Cost $ 7000.00 approx with internal TBC.
Jeb writes: I'm using three Raptor X's on the new Hanna Montana movie and I can edit with ease using
Final Cut Studio on a MacPro. I am able to work on an edit at the same time that I am simultaneously doing
the Video Assist duties. I use After Effects, Shake and Nuke for compositing. Avid Media Composer is not
a good solution for editing because the captured files must first be converted to Avid's proprietary video
format before editing, very time consuming. FCP accesses the Raptor files over a GigaBit ethernet router.
No need to move the files unless one wishes to do further editing/compositing away from the video cart.
Placing an edited sequence back on the Raptor after exporting the sequence as a QT - AVI file. Generally
the system is fantastic. Very reliable, scalable ( I believe up to 16 cameras), great company support and
easy to use. My only gripe is that we are all still waiting for the promised DVD backup feature to be
completed! Hope this helps! Jeb Johenning
2008: “The Raptor XLite is in an enclosure that is 2RU (3.5") tall and about 8
inches deep. This DDR will record about 20 hours of video (as DV ?) instead of
150 like its big brother Raptor X. It is meant for commercials/VFX/second units
who need immediate and simple file sharing between units or ingest to FCP for
on-set editing/comps. The production models will also have record audio level
setting and headphone monitoring for a more complete run and gun unit. We are
going to offer an IDX or Anton Bauer battery plate on the top cover as an option
along with a removable LCD monitor bracket so guys can create a "clamshell" if
they need to. Steve Irving”.
Raptor HD http://raptorddr.com/rhd.html and
Records compressed 1080 etc on HD. Can be networked and played in sync with
other raptors. Takes HDSDI in. Slightly slower to respond than 50 or X. Takes 2
sec to start playing back. In use in 2008 said to produce an excellent looking
Steve March 2009: “The base price for both the HDx and HDc without monitor is
$7,995. We are making a bracket that lets the end user attach a 3rd party small
format HD LCD monitor based on end user requirements. You can spend $800 to
over $4K on small HD monitors from Nebtek, IKAN, Panasonic, Leader and
others. We are not going to sell any monitors.” Check their web page for a HD
Note 2010: HD output of RedOne cameras has to go thru a reclocker (or a router
that does the same thing) to be properly recorded by Raptors.
At NAB 2010, Nebtek (booth C8508) will be previewing an example of a Raptor HDx
VFX feature we call "Quick Mix".
To satisfy occasional requests for VFX line ups, we are creating a simple dissolve/wipe
function that will mix a still frame of a clip (stored on the internal hard drive) over the
live incoming camera feed. The background "plate" image can be scaled and positioned
by simple controls on the software interface.
The Quick Mix video will appear on the software interface screen. It will also be
available as a full screen 720p HD-SDI signal by using small, external, format conversion
devices that are plug and play, with no operator adjustments required.
This new feature is not intended to replace or compete with a full featured HD effects system but is
designed to help satisfy the needs of simple VFX shot line ups so assist users do not have to rely on a
cumbersome VFX system for performing HD assist playback.
Our goal has always been to design the smallest DC powered video assist recorders with the maximum
amount of internal storage time using compressed recording technologies. We understand the needs of
effects work and are trying to satisfy the "occasional" needs that arise on productions.
The "Quick Mix" feature, when completed and released during the summer of 2010, will also include a
green screen keyer mode that will not be demonstrated at NAB.
Exact details on upgrading current decks will not be available until June, 2010.
Nebtek will also have an example of our optional $395 Raptor HDx breakout box in their booth.
Have a great NAB 2010! Steve Irwin Steve Sexton
EDITING: “The Raptor HD and soon to be released Raptor HDc (compact) both
record .avi files using a Motion JPEG codec. This provides outstanding picture
quality and very small file sizes. This codec is not a "native" FCP codec and must
be rendered on the timeline. The SD Raptor X product records .avi files using a
DV codec so files drop right into a FCP timeline.
The full size Raptor HD can record over 100 hours of HD (in 2008) internally.
This amount of storage is becoming more necessary since so many HD shoots
do not cut but just "keep on rolling" in a series of takes. The Raptor X and Raptor
HD products allow files to be transferred easily into FCP over GB Ethernet
connections. In fact many Raptor X users edit over this connection and do not
have to move the media files over to the local FCP computer!! …….Files from the
Raptor HD can be imported into FCP and edited on the timeline using the
"Unlimited RT" setting. This forces FCP to play effects and clips in real time but
drops frames if needed for editing and previewing. Raptor HD clips in the timeline
will then need to be "rendered" for high quality real time playback. You can easily
edit and make decisions using the Unlimited RT timeline setting. I suggest setting
up sequence codecs to Apple ProRes since this codec is easy to export and
share across Mac and Windows computers with the new updates to QuickTime
that were recently announced. Render times runs about twice real time on
current machines. Steve Irwin”
Note from a user in summer 2009: “there has been problems capturing the signal
from some (not all) RED One cameras to the new Raptor X HD (which uses a
BlackMagic Extreme card). This is because the signal is not strictly SMPTE
292M compliant. Recommended is re-clocking it before capture. TIP: Must use
the AJA HD10DA mini-converter, it does a better job at re-clocking shaky RED
signals, compared to AJA's HD5DA and 3GDA units. It worked consistently,
where as the others didn't..........”
These little tricks are what makes it a joy to use Raptors… with all other
“recorders” the user is stuck out there all alone to figure out these idiotic but
From the field: Raptor HD experience
I used two Raptor HD decks on Roland Emmerich's "2012" for 100 days. At one
point I had over 5000 clips on the A-deck, and over 100 hours of footage that I
could playback. We used over 10 TB of data storage on the show in total.
The show was a Panavision Genesis shoot with 2 or 3 cameras. Panasonic 17"
LCDs for Roland at video village so he could see the HD image live, and played
back without any switching between formats. Single wire HD-SDI at 1920 x 1080
x 23.98PsF was the output from the Genesis.
If you haven't read it yet, go to the Playback Technologies home page and
download the Hi-Def White paper. This is very useful info to get you started. The
truth is that you will need to reconsider every step of your playback system to go
fully HD. We got all new Belden 1505F video cable (better stuff is out there –
ed.), AJA down-converters and distribution amps, Kramer 8x8 HD-SDI router and
the Panasonic monitors to make the system work.
If you have used a Raptor-X standard def unit, the software interface is almost
identical with the exception of the controls for the capture card. The decks use
the BlackMagic Design cards to capture and playback HD at compressed file
sizes. The cards accept a wide variety of HD signals into the SDI / HD-SDI input,
or to the component inputs on the breakout cable. The software allows you to
select and control the card if the camera changes frame rate (if you shoot
Genesis off-speed the rate changes to 59.94i) or if different HD cameras are
used; we had a Sony EX-1 for some surveillance video that would end up on
screens in post-production. Steve/s include a nice feature to "auto-detect" the
frame rate for the input, which is very helpful.
Separate from video, the audio on the show was kept analogue for inputs and
outputs. Yes, you can try to use the audio embedded in the HD-SDI stream from
the camera if the sound team is recording that way, but I chose to keep it
traditional using the same tools as my standard def cart is set-up.
For a variety of reasons, I still had my 8x8 composite video / RCA audio router
working. I used a AJA down-converter to loop a live HD signal into the router,
and another HD signal directly into the A or B-deck. The composite output went
into a live DA, which fed my on-board LCD monitors, back-up decks, a standard
def video mixer, and out to the sound team and lighting board op, etc. On the
main output, I also used a down-converter so I could transmit live or playback to
a handheld 7" Camos monitor, which got used a lot by Roland or the AD team.
I also connected the standard def composite input to the Raptor HD from the
composite router. This allowed me to re-record a take if the HD signal had an
issue, or if I screwed up. For most of the show, the VFX mixing was done in
standard def so I had a live HD image on the A monitor, and the mixed signal on
the 2nd monitor in standard def. When you mix signals like this, the sync on the
playback is off-set due to the latentcy in the down-converter.
Compared to a standard def show, there are a lot of questions that you will have
to sort out that were no big deal previously. HD-SDI doesn't like to travel very far:
100 to 200 feet is about all you can get without sparkles showing up in the image.
Our show had a digital utility person who wrangled cables from the cameras into
a tent for our DOP, Dean Semler. We took the output from their live DA's and
recorded an unprocessed signal, which has the Panalog curve optimized for post
manipulation. To compensate, we adjusted the Panasonic monitors by slightly
turning up the contrast, and turning down the brightness. Yes, this is cheating but
the alternative is to bring out a Genesis display adapter and software for each
Perhaps I haven't said enough about the Raptor HD decks, and too much about
everything that went with it, but that is the HD world. The recorders are only one
piece of the puzzle, and they need to be supported with a lot of other gear to
make a system that is ready for a feature film project. We chose the Raptor HD
decks because I didn't see a viable alternative for a long form project with the
other systems out there at the time. I did use my Mac Pro tower with Kona LHe
card for the 3rd camera, but Final Cut is not suited to video assist unless you
have time to set in & out points, and input a new file name after each playback.
None of this is to say all of the various HD gear performed perfectly. We had lots
of headaches getting this system to work properly, but I have to give a big thanks
to both Steve Sexton and Steve Irwin for their help. Their product support was
excellent, and they continue to listen politely to my rants when I call them now.
The Raptor HDx is basically the same system from the Raptor HD chassis, but in
the 1/2 rack width size of the Raptor-X. If you ask nicely, they may even send
you the datasheet for the new unit since their website has not yet been updated.
best of luck, dave David McKnight equinox.digital.cinema.inc vancouver, bc
Posted on the yahoo group by: "Steve" firstname.lastname@example.org
playbacksteve Fri Feb 26, 2010 12:58 pm (PST)
Some users can afford $20K and work with an AC powered 45lb computer tower
based solution. Not going to put that on a camera car when you are told "we
don't have room for the assist guy, what else do you have for recording you can
leave with the camera". It's always going to be a mix of expensive tools and
options to satisfy the world of HD recording. If a small portable DC powered
recorder that can store 75 to 100 hours of HD, be operated from a front panel or
external monitor, mouse & keyboard and allow instant access to a previous
recorded scene by directly entering that in a search field then don't forget about
the Raptor HDx recorder.......if it suits your work-flow. Regards Steve Irwin
Interesting comparison of raptors:
must read overview of HD recording:
REDONE Camera caution:
In the analog world of composite video and older videotape based recording and
playback technology there is a signal error known as time base error.
TBC error and other non-synchronous video errors or corrected by devices
known as Frame Synchronizers and Time Base Correctors.
In the digital world of both standard and high definition there is a digital
equivalent to time base error called jitter. In an HD-SDI data stream the very high
speed timing of the serial digital data can vary. This digital instability can be
caused by equipment falling out of spec or cumulative equipment and cable runs
in the complete "digital path" that the signal travels before it gets to you the video
There has been a well known issue regarding the RED camera system that the
HD-SDI output on their cameras are for "monitoring use only" and does not meet
SMPTE standards for jitter error.
Just as composite video monitors are basically immune to analog time base error
and will always display a correct image HD-SDI monitors are generally forgiving
to jitter error as well. Most recorders and capture devices will have problems with
excessive jitter. Jitter can not be measured by any normal on set test equipment.
Fortunately there is a fairly low cost and simple solution. A "reclocking"
DA attempts to recover, reshape and most importantly re-time the HD-SDI data
stream. By making a reclocking DA a part of your standard HD package and
passing any HD-SDI signal you receive at your cart through one you are
helping to insure a successful and trouble free approach to dealing with HD
signals on set no matter where they come from.
Be aware there are many HD-SDI distribution amplifiers on the market. The other
common type of DA is called a "equalizing" DA. An equalizing DA will not perform
the much needed re-timing function and we suggest only purchasing reclocking
Playback Technologies and others have concluded that you should always use a
reclocking DA on RED camera jobs. In fact most guys "in the know" make this a
part of their standard package since jitter can creep in to any stage wide system
and we have seen jitter accumulate even with other major cameras and systems
by the time the signal gets to the poor assist guy at the end of the signal chain.
The AJA HD10DA 1x6 is the most widely used reclocking DA in use. Cost about
$ 550.00 - 650.00.
We have seen some reclocking gear including routers fail to correct HD-
SDI signals well enough. As I tell everybody, always have a plan B with anything
digital. Steve Irwin May 2010
All Raptor HDX's record HDMI sources that are non HDCP compliant. You can
find active HDMI repeaters both standalone and built into HDMI cables over 100ft
Its smart is to convert the highly delicate TMDS (Transition Minimized Differential
Signaling) scheme of HDMI to HD-SDI for transport away from camera. HDMI
extension cables vary greatly in quality, wire gauge and shielding. I strongly
recommend avoiding HDMI extension if at all possible. I have seen HDMI
extensions work between two pieces of equipment and not two others......it's
really squirrelly to deal with and to troubleshoot!!! Regards Steve Irwin
HD-SDI Matrix switcher:
Matrix has a model with separate audio (MAYBE A CUSTOM MADE MODEL)
Call the owner an see if they make a 16x16
Kramer HD switcher works OK , has reclocking in it, needs Kramer audio
switcher that is not linkable despite of the advertisement as of 2010
Kramer VS-88HD HD/SDI HD Matrix Switcher Flicker Problem
I've had issues with the Kramer HD switcher Jitter at output. Totally fixed by using an AJA
HD10DA reclocking DA in front of the switcher then fed the Raptors to record. The Kramer is
VERY sensitive to any cable length over about 25ft. Ian Kelly
KRAMER reclocker with 2 outs works OK on RedOnes – some few people say –
AJA has matrix routers now August 2010.
Is a four input HD-SDI switcher with chroma key and 23.98 support. Avail.
summer 2010 for around $4K. Maybe called AW-H50SN
BlackMagic Designs VideoHub router
NEBTEK BT-LH1700W STAND BRACKET. FYI it also fits
the BT-LH1710 and BT-LH1760 Monitors.
also heard that the bracket by Oppenheimer in Seattle is
good. (No pictures on the net… they are a little more
expensive but you can mount the monitors right next to each
other, there is a tightening knob only on one side.
Single and dual easy to operate HD recorder. ( is being used by some folk
successfully) Limit 8 hours per machine. Needs external TBC to record RF.
Internally it’s the Recon recorder used by: Raptor50, Hamlet, EASYLOOK and
the Brits DMC-05. “2008: Fast Forward Video's HD Elite, and Omega HD will
have a QT wrapper on the J2K format they now use so you can import it into
FCP and play it without conversion. This will be a firmware upgrade to existing or
new units and will be available by N.A.B… The Fast Forward Video Elite HD will
record HD-SDI with imbedded audio at Panasonic DVC PRO 100 resolution, has
a removable HD that holds several hours of up to 1080Psf 23.98 HD on a 128Gb
drive. We recommend S.S. SATA 2.5" drives. The format is J2K, but by NAB this
year (2009) FFV will have a QT wrapper on the files that will let you play them in
FCP without converting them. The unit has RS422 9 pin Sony deck control D.C.
7 - 30 V. power and is small. List price $6995.00 with the RS422 mod. It does the
PAL HD rates too. Dick Clark”
• ELITE HD portable HD recorder- yellow mini box; works OK, is
small, limited storage, compresses some, no speeds, meant to be in the
rear of the camera. http://www.ffv.com/products/elite_front_4.pdf
note: Unlike a portable Raptor, which is easy to use and can recall clips quickly
just using the front panel, the F.F. decks require a laptop hooked up to it to do
anything fast. We were doing playback out on the highway, and it took minutes
to cue up the shot only using the front panel.
• FFV Omega HD deck 2 camera, seems reliable.
Note on FF HD recorders : if you mix 1080 and 720 on one hardisk you
have to manipulate menus for 50-60 seconds before you are able to play
mixed standards back. OUCH
New in 2006. http://ffv.com/techlit/NDT_200_Specs.pdf
Not widely used by 2008, records DV format files (latter
QuickTime – QT can be played from MAC or PC if you
install a player/converter) that are transferable to your
laptop with a USB cable at a reasonably slow speed,
not all speeds on playback, repair service is slow. Early
version bugs seems to have been worked out. Early
screen did not work well for touch entry. Recommend using solid-state laptop
type memory rather than spinning hard drives. Current draw over 1A. 12V not
7.2V! Article: http://broadcastengineering.com/products/fast-forward-video-
unveils-portable-dvr-0915/ List prices:
NDT 200 G with all software options = $1995
NDT 200 G with all software options & 320GB SATA HDD drive = $2199
NDT 200 G with all software options & 128 SATA SSD drive = $2795
Joe Walsh VP of Sales Office (843)-815-3268 Mobile (843)-540-1293
constantly changing staff, little support on the phone, little maintenance support,
Hamlet packages these in Suitcases with DC-DC for small Sony Batts with 2
hours lifetime, and DA for 2 outputs - and does some repairs.
(Probably not available in fall 2010? They have
not answered email since summer 2010 but they
exist as a rental house) Cost over Euro 50K =
US$ 75K 2 camera HD or 4 camera SD, 24-
30V @ 90Watt. That is 24V @ 3,75 Amps, very
low current use, amazing. Made in Germany to the highest
standards of perfection and flexibility and ease of use. Showed a
nearly complete version June 2010 in LA. HD solid state storage for
now only 20 hours soon unlimited with external SATA drives. Very
simple interface, no computer weirdnesses to deal with- it seems.
Elegant temperature (fan) and voltage controls. Has a very low
noise fan that goes off or into low mode while recording. Flexible
HD and SD outputs.
Vantage Film GmbH Phone +49 961 26795 Fax +49 961 62983 The PSU 3's
touchscreen approach is seen as dubious by many but their experience over
years is good. Cold, humidity or dirt can render the PSU-2 or 3 inoperative one
would guess but it’s not so they say. Neat remotes with buttons for operator and
director are available. The directors remote is linked to PSU via the video cable
that carries HD to his monitor.
user manual http://www.vantagefilm.com/file/pdf/equipment_30.pdf
from the website and my notes: In the past five
years, many high-profile productions, thousands of
commercials and several feature films from
Roman Polanski's Oliver Twist to Rachid
Bouchareb's Days of Glory have been shot using
Vantage Film's PSU 2 (standard def.) as the video
system on the set. Based on this experience
Vantage Film now provides a new release in HD.
Features like Scene/Take-Labeling ( searchable),
Frame Line Generator or Multiple-Frame Print,
green screen, multilayering, sizing, TC and non
searchable notes field. add up to a complete system on the set. I feel a text only
database is still missing.
• Use the automatic take labeling function to name each take with its
corresponding scene/take number. For each shooting day a report is
automatically produced and made available over the USB2 digital
• With the Frame Line Generator you can display up to six different aspect
ratios at the same time (1.33, 14:9, 1.66, 16:9, 1.85, 2.40). Every frame
line can be individually designed; Zoom or adjustable gray Mask can be
directly applied to them. Of course their Anamorphic lenses are fully
• If you are shooting with the Vantage Lector system linking to Arri cameras
via the video cable to PSU, use the new footage counter, which will
always show you the remaining film stock in your cameras. The PSU will
record any speed changes and ramps done to the ARRI and reproduce
them on playback.
• The PSU-2Plus allows you to produce DVDs with your takes (selects or
circled only). It is also possible to download takes as MPEG-files to your
computer (and/or IPod or IPad) for “video” DVDs. Compression happens
in the background.
• Features like Auto-Playback-Mute of audio, Zoom-Out, On-Touch-Hide-or-
Delete or Variable Sound Speed and pitch correction is included. They
said they are not planning to charge for software upgrades.
Post-Production Effects done in the PSU:
Create overlays ( green screen or any one selectable color) with two running layers or
with one running layer and one frozen image. The frozen image can be designed from
three different snapshots. Images can be up and downloaded using the digital interface
of PSU-2Plus: firewire or USB2 or LAN.
Use Multiple-Frame-Print for previewing "dream or action sequences" shot at lower
camera speeds and multiple frame printed at the laboratory to slow down the action.
Find the correct multiplication factors for the lab. You can visualize precisely all kinds of
step printing before the lab starts work.
The new PSU-2 Plus allows you to change image brightness, contrast or gamma
correction (the file is not affected). With chroma keying you can eliminate one specific
adjustable color. Changing each color channel RGB allows you to preview the color
grading postproduction result. These values are not kept in memory.
Simulate time laps starting at 0.1 fps according to the speed range of the new Arriflex
435 Extreme or preview slow motion up to 1250fps and combine it with speed ramping.
There is much on screen help. The interface is clean and easy, or very deep and
detailed if you choose. Ready for 3D in all of its variations. 2 HD stream playback (or 4
SD) on different monitors or split on one or live mixed with playback in split or quad
screen. Very flexible, no accessory switcher needed.
The user instructions for the PSU software version 2.75 T as well as a PSU-2Plus
brochure can be downloaded from the equipment section
http://www.vantagefilm.com/en/news/news_2009-12_01.shtml of this website.
HD VTR PRICING (FROM THE YAHOO GROUP MAILER)
Posted by: "Main" email@example.com mercurybarz
Fri Jun 25, 2010 6:00 pm (PDT)
Hey guys. David Presley here. Just a reminder on HD pricing. I have
been charging 4000/week for a HD package. All the bells and whistles.
Keep those prices high. So, when the Upm I'm dealing with now who
wants to pay 1500 for that calls don't kill me, and the rest of us.
Military digital Clamshell $ ?$$$ MDVR 810D only good to 1G records onCF card
EASYLOOK (German) Digital Clamshell
Nothing available in 2009 or 2010, I believe they discontinued the product.
Clamshell / Combo replacement, easy to use for directors, approx $
12,000.00 in 2007. built in RF link . Camera turns recorder ON and OFF
and sends picture to recorder. 8 hour limit, based on Recon FFV. Made in
Germany – marginal support, time difference 9 hours – pretty solid
performance. In use in Europe approx 50, rented by camera houses in
Paris and London. The Camera House in LA has 2. A single camera
clamshell replacement. Simple to use, good slomo. Company restructured
in summer 08 in Germany. The Camera House
http://www.thecamerahouse.com/ has some for rent in Los Angeles.
Panasonic introduced its new solid-state AJ-HPM200, a P2 HD
mobile recorder/player featuring an exciting range of new
editing, recording and AV/IT connection functions.
First real full Hidef 1080 recorder available in 2007 – needs lots of storage of
course… some DITs do an abridged version of Video Assist with it in that they
keep only a few images of each take for color comparison and a few of the last
takes….500 in use for all kinds of purposes in broadcasting. Available off the
shelf. Some say bad support on the phone. Older SD version can be found for
very little on e-bay. A solid machine. Have a dual HDSDI recorder in 2010.
Film Speed Video (FSV)
External Mac based software for Doremi, does not edit, does all speeds well,
Basic solid database software, TC based, not as flexible as Cinelog or other
database based systems – good support. By: Clark Higgins. This software will
control both Doremi SD & HD decks as well as some other devices. Note that
FSV requires Mac OS9 to operate. But you can buy an old Mac laptop for under
$400 these days. PowerBook G4's can run OS9 and OSX if you want to run Final
Cut as well as FSV. You can export files from the Doremi device into Final Cut
for editing on the Mac.
Hamlet builds complete very compact suitcases (approx $ 12K for SD) with
tuners and intercom and TBC, part of custom wiring and distribution, acceptable
for commercials and short form. Dual camera based on FFV Recon, 8 hour limit,
perfect sync between 2 cameras (or more). Made in LA. Hard to reach on phone.
He builds what he builds, if you like it buy it, if not don’t. PHONE: 323-868-8080
FAX: 818-244-9100 www.hpvideo.tv and
Now branching out into HD assist with FFV modules. Makes HD suitcases.
Same limits as the FFV recorders.
A sophisticated PC based system with built in SPX – greenscreen capabilities.
Barely sold in the USA – support from Italy is too far away. Uses Canopus to
capture, good slomo bad freeze frame. For USA support remember 9 hr time
differential to Europe. Discontinued in 2009 due to low sales???
Software only for IBM PC is out as of July 2007, made in Italy. Reasonably
Decent looking reverse and slo-mo playback with audio from DV files (Cinelogs is
worse looking). Dual camera works well on specific ASUS laptop PC with
Canopus and TBC for RF reception. Records DV files so editing in FCP is easy.
Some crazies run it as IBM on a MAC but report success. Some laptops are
“It work pretty well but it need a bit of time to be perfect. All the basic Video Assist things work
perfectly. I’ve never seen it crash. “ a Canadian user. In 2007 maybe 5 in use in the USA.
Cockpit demo 2008: Paolo and David spent a whole Saturday in November at my (wolf) house showing
the CockpitCUBE vid ass software to a few folks that came by. It rec/played in sync with 2 sources on an
ASUS laptop. Despite Davids valiant 6 hours of computer install wrestling it only recorded but did not
playback from our Dell Vostro 1500 fully packed with 4G of memory etc.. We concluded that this laptop
either was a damaged one or was systemically not able to play two Firewire streams. Weird.
CockpitCUBE will not be developed any further to become HD compatible they said but I guess they are still
selling it from Italy. CockpitCUBE will remain a SD product based on the Canopus capture boxes and PC. It
is selling outside the US. It does well with 2 cameras and plays back in perfect sync both cameras at the
same time. You can superimpose but not size 2 images precisely and play them precisely on the frame. You
need 2 Canopus boxes to capture and PB with, like the Cinelog Mac based version. I still don’t have a good
impression of their database (history list) but it looks fine. The freeze frame is jittery which is bad. The slow
mo is good, better than Cinelog.
I guess they have a hard time selling it in the Americas because they live in Italy - Turino. I think there is one
system in use in Boston, one in Toronto, one in LA (where?). We all know that it’s a real necessity to go and
camp out on the developers front lawn when he comes home at midnight to get things fixed. FFV has no
lawn, Pavliks is frozen over in Toronto, but Payback technologies has a lovely lounge and superb support.
Cockpits new “Movie” software is in the beginning stages of development “:it’s coming very soon” (They
use Mac appeal for PC based software!!) I saw three HDMI (consumer type HD seriously compressed but
better looking than the DV codex and better at reverse and slow mo) streams being captured and played in
sync, and also superimposed at the DV show on large monitors. To distribute HDMI is another headache of
course. They are planning to make it vid ass friendly soon, they say. It uses the Black Magic cards in large
commercial PCs to capture and play 3 streams in sync.
June 2009: We at VideoAssisTech would like to add to the ongoing discussion about the next generation
HD Video Assist Systems some updated information about our latest software MovieCockpit which we
believe may be of some interest here…… read the Yahoo board for further details
Due to the extensive support for all BlackMagic-Design cards, external break-out boxes (MultiBridge
models) are also available for better integration into existent carts. For detailed information about the
capabilities of each card, please refer to the BlackMagic-Design website at http://www.blackmagic-
Also the TRIAL can be downloaded for free, from our webstore at the following address:
http://www.videoassistech.it/moviecockpit/shop.php (requires registration). For general information and
short demo videos please go to our website at: www.moviecockpit.com. New info June 2009
http://www.moviecockpit.com/turnkey.htm or http://www.moviecockpit.com/moviecockpit_hd.htm for Euro
Made in Britain. Based on FFV. Max 8 hours per drive. Fast for commercials and
Music videos. SPX built in. full package with good monitor built in very purpose
oriented box. 2 camera in sync playback. Summer 2007 change in ownership of
company. Cost $18K or so. 7 or so in use in USA. For USA support remember 9
hr time differential to Europe. Good support from England even for USA unless
they are temporarily insolvent http://vlex.co.uk/vid/imp-electronics-limited-
55332007. Nebeker says in June 2009: Nebtek has a DMC-05 Available for
rental. Gill and Simon are still making the DMC-05 and they have 3 in stock
currently. NAB special Price of $11,800.00 is good value.
http://www.nebtek.com/dmc05.php out of order website: http://www.imp-
Minimal support in USA, popular in Toronto Canada, multicam possible.
DIGICLAM – NAB – PAVLIK essay:
Pavlik was at Wolf’s house on Sunday 4/24/05 and did a four hour demo of his gear (and now we have more
questions of course). A few folks have been using his slightly older model around the world for a couple of
years. He only has 7 in L.A. Probably because of support issues and lack of extra ones to rent to the users.
(he is in Toronto, and folks like brick and mortar stores) maybe 5 in use in the USA.
What we saw work:
ARRI Camera control of DigiClam:
Pavlik attaches a 1/3 Cigarette pack size box to 11 pin out on an ARRI, 10 pin. He runs the usual 75Ω video
cable to his DigiClam. Now the camera turns DigiClam ON and OFF as it rolls. It sends data (including
Timecode) during horizontal blanking to clamshell. This even works with a CanaTrans substituted for a
cable. Wow! Also this box feeds camera speed data and camera timecode to DigiClam so that it can play
back ramps instantly exactly without operator entering anything! Wow! He now also has a version for the
Panavision cameras. The r is an interesting feature: You can put the recorder in pause in record mode. For
example, an assistant preslates the scene and you grab the slate. You hit pause, the camera rolls for the
scene and you hit record and one file is recorded that has the earlier slate and the current take all in one
piece. This is done by the remote roll box as long as the slate roll is less than 5 seconds. The digiclam will
make one file of the 2 rolls all by itself. Is this great for the giveaway clamshell for 2 unit.
You can play back any previous take while recording the current take simultaneously – a great way to :
1. trigger a motion control rig on a certain Timecode from an older clip
2. Playback a plate and record a composite image from an external video mixer
3. print from previous takes while recording current one Wow!
Picture quality was excellent – like the 10 minute per Gigabyte pix you get from Cinelog. (Dare I say Beta-
The Digiclam mutes the audio out on RCA output only, not on the balanced XLR outputs during Stby and
REC – The idea is that the balanced out goes to the Sound recordist and he can control feedback . I would
think this could feed a Comtek, which is never muted.
Digiclam has all functions: FWD, REV and PLAY at normal and 2x 4x 6x scan speeds. You can also enter
any speed to play based on 24, 25 or 30 “normal” speed. There are changeable scene & take names. You
can inch back and forward frame by frame by pushing buttons, even though the frame by frame function is a
little slow in response – not sure if there was a 3 frame reverse. I did all this and nothing crashed. There is
no scrub wheel despite of the whole thing being custom everything. “A shuttle wheel will be interfaced later”
Everything here is made for the purpose at hand. The only standard part is the laptop type hard disk and
the LCD screen. He makes everything else to his specs.
He says he can handle 2x 120G drives. Each holds 80 hours. You can remove one drive while recording on
another. Which we tried. I am not sure about the database and how it handles 3 or more drives.
File compatibility: he said you can copy or move files from his removed drive with small hardware adapter to
PC (Mac – needs to use Virtual PC only to transfer the files) USB port and import to Premiere, etc., faster
than real time and then write to DVD as the same file format that he exported as. That should be as fast as
the DVD can write, no additional translation time he says. Of course we did not try this.
He also showed a legal and reasonably priced $20K TX-RX microwave CODFM that had perfect digital
transmission. It will have more range in the future. We saw it at 10 yards range (due to attenuation
implemented for the trade show) . If these things really work I will rent them in LA probably to awards shows.
He promised: In a couple of weeks a full setup DigiClam , Y-com , ARRI/Panavision remote box and
DirectorCOM will be in LA for testing.
There is a linear for 10 mile range. If these things really work I will rent them in LA probably to awards
What we did not see or wasn’t completed but what one should see soon:
There is a full IR wireless remote that controls DigiClam and Y-com. We did not see that.
Up to 8 DigiClams linked playing in sync - Possible only with Timecode version of digiClam. ( extra $$)
TC was still displayed on all video outputs in lower corner. Display of TC on outputs can be disabled soon.
Multiple in and out points, right now there is only one inpoint settable while recording or playing back-
multiple/ for series of takes/ will be soon. PC or laptop remote control, especially for multidecks will be
ready within a month time we are told.
Pavlik also promised to include a lock out function in the menus so that you can disable all of the keyboard
but the basics when you give the deck to the director to work in the back of the car they are shooting in.
He quotes maximum of 4 weeks delivery, price $6000 for basic plus extras. NOt sure if he is still in buizz in
I am sure I forgot to write about many niceties and details but: Life has to be simplified! Some say Pavlik
has a reputation for finishing stuff 90%. The reason this has such a long review is that I wrote it and I never
took the time any detailed ones for the other systems. Pavlik is bad at staying in contact with customers.
This is a complicated machine that does not crash if used with a few precautions. FFV and Omega and
Raptor do very, very rarely; all the computer based systems have their good weeks and bad. I have to say
though that folks adapt to the IBM based machines so that what was a 3 times a day crasher after months of
training turns into a once a month crasher. It’s called operator acquiescence?
Jerry Rightmer – Stormvision
2010: Vern Potter, who used to work there, had taken on some if the support
role. Give him a call at 805-499-5457.
Occasional audio sync problems for some people, 2 and 4 camera packages
based on PC platform XP laptop for up to 2 cam, desktop up to 4 cam. Big
changes in 2006: Jerry died and I am not sure if the company is still around.
People really get used to what they have purchased: “…hey there, The
Rightmer dual cam laptop is the shizzay... I have been using it for 2 years now
and it is the most complete portable dual cam split unit out there. Solid.
Conrad.” Said to be very fast to change speeds and go from Play to Live. Latest
2006 version keeps sync with TBC even with bad transmitters. David Katz has 6
units but can’t get phone support in 2008. 2009: the company was offered up for
sale. Paul Murphey has some? Cogswells have some. Anthony DeSanto
firstname.lastname@example.org offers his services for some help.
Wireless digital metadata based early in development very digital techie
start at $ 2000 wireless to WiFi Mac computers… ½ sec delay.. to multiple
computers 10 sec delay. Interesting electronics that put files on Internet.
Atomos Ninja: Hard disk small recorders:
Lynx Video System
the Turkish system new in 2009
Sinan SENSIVASUSA MOBILE: 323 244 3726
Manufacturing Facility Tel : +90 262 678 72 32Orion Studios
Tel : +90 212 360 37 60 - PBX (110)Mobile : +90 535 729
89 28 Web : www.oktotech.com <http://www.oktotech.com/>
Mail : sinan(at)oktotech.com
<mailto:email@example.com> Skype : sinansensivasMSN :
<mailto:firstname.lastname@example.org> Adress :
GOSB Teknopark 2. Hibrid Bina 1. Kat A3 Gebze/Kocaeli/Türkiye
March 2010 Wolf note: NTSC in this system works as of today. It’s in an early state of development. You can
record 4 cameras but only play one at a time or play in a quad. Many things need development. The most
promising part is that there are Turkish government funds behind this project so there may be enough resources to
make it complete. Lot of flash on the screen but basics are not there yet. Sound is out of sync and woefully
ignored so far. Runs on 12 V. No visible database. Touch screen has to be gotten rid of (gets dirty and eats
resources). No outputs for single cameras, it’s a quad output when recording 4 cameras. Live pix is delayed 5
From Britain: Posted by: "Bob Bridges" email@example.com bbvcbob Sun Mar 8, 2009 From the
Yahoo group http://movies.groups.yahoo.com/group/VideoAssist/message/3501
Hi guys, I was very lucky to be invited for a one-to-one demo of the new Lynx Video Assist system on
Wednesday with Sinan Sensivas and Alphan Belbek of Media Technologies [from Turkey] whilst they were in
London to promote the device.
I initially contacted them after their first posting on the Yahoo forum as I was on the lookout for a portable multi-
camera device for Action Unit work. Whilst I am a dedicated CinelogX user for my studio rigs, I was looking for
something that could record four cameras, was reasonably light, easy to operate and came in a single box.
Another requirement was that the video files would be of a type that were compatible with my CinelogX
produced DV-PAL .mov files. I need to be able easily transfer files from one system to the other and be able to
pass the files on to VFX and the Editors with minimum transfer time. There are other devices with 4 camera
capabilities but often they record with proprietary file formats that can't be read by any other device - or they're
coded as Mpeg2 or 4 files that suffer compression loss and can't be edited easily.
My first step was to download an example video file from Media Technologies. The file is in .avi form which
immediately opened up on my MacBook Pro as an "Apple openDML jpeg' I was able to export this from
QuicktimePro in my preferred DV-PAL .mov format very quickly and dropping the .avi file into FinalCut Pro
only needed a moment to render up to the FCP project's settings.
So far, so good. The next thing was the operation of the device. From the website blurb, the Lynx can do
everything - Record & Play up to 4 cameras, Mix&Overlay and Edit. I am always suspicious of such devices as
often they can do it all but the compromises needed to offer all the options can mean over-complex interfaces or
reduced functions in any one mode.
So to the demo: This isn't a full review, just my impressions of the Lynx system.
The first thing I noticed was that the device has changed since the website photo's were published. The joystick is
no longer on the front panel and there have been changes to some of the interface screens. The guys told me that
they are still consistently updating and modifying the system as new ideas and suggestions come in from users
and the professional VA Op's they're meeting through the demo's.
The interface has six main areas - Record, Playback, Mixer, Import/Export, Editor and Settings. The first five
are serviced by the database which organizes the shots, as thumbnails, into Scenes, Shots (within each Scene) and
Takes (within each shot) There is also a folder containing Edits. The database is navigated iPhone style by
flicking through the thumbnails.
The Video output mirrors what you see on the video overlay window on the interface - so if you are playing
back one camera in full frame on the interface or all four as a quad-split, that's what you see on the output.
When you are in single camera mode you can apply a matte around the image to match the groundglass lines
which is adjustable for size and position and has variable opacity. This is applied to the output which means that
the image is recorded clean so, if there's a question of just how close was the boom to the edge, you can dial out
the matte and show them.
Record: A nice simple interface. You select single or multiple cameras to record where the cameras can be
enabled or disabled individually. Currently, on the software I saw, there was no ability to set in and out points
during record but I have suggested that they provide this (preferably with multiple in/outs for takes which result
in matching separate entries in the database as they do in CinelogX)
Playback: Again, nice and easy to use. Double tap (it's touchscreen operated) the file you wish to play or touch
and drag it's thumbnail into the playback window and it will begin to play. You have two choices for control - the
on screen buttons or the shuttle control on the front panel. You can scrub or step frame by frame through the
shot and easily change the in/outpoints. The files can be played back at up to 800fps equivalent. A nice touch is
that, at the higher frame rates, motion blurring is applied to improve the playback of the shots, reducing any
jerkiness as a result of the slow video playback. In the database the multi-camera shots can appear as either the
individual camera shots or as the four camera grouping for simultaneous selection and, in sync, playback. Shots
can be rated, 1 to 5 Stars, during playback. The database is searchable.
Mixer: Although the Chromakey functions weren't working on the device I saw (the software was in the process
of being rewritten) the mixer section looked very good and, again, simple to use. You can drag shots from the
database into the two mixer 'windows' and mix between them or mix live with a recorded shot. When you
perform a live mix during a recording, the device automatically records the live clean as well as the mix. Another
handy function, apparently produced as a response to some correspondence on the forum, is the ability to sync
two recorded shots by simply finding the sync points by scrubbing through each of the two recorded files and
clicking the "Sync" button. Not only does this align the two sync points but also trims the playback to the length
of the shortest file.
Import/Export: The device has USB 2.0 ports and a DVD drive for importing/exporting the files. There is also a
RJ-45 port for network operation and a Firewire 400 port for video output (not data). Again, the files to export are
dragged from the database into the export window. The files can be selected by whole scenes or take by take.
Editor: A simple but powerful editor - probably the best I've seen as part of a VA package. You can save the edits
as cutting lists or render out the edits as separate video files.
Settings: Here are the various control functions - aspect ratio, Play speed, video Format (PAL/NTSC) etc.
General: The unit was well built, the 17" LCD touch-screen lays back for transport and is positionally adjustable
up to 90 degrees. It is powered by 110/220V ac or 12V dc with a 12V output for accessories like Microwave
receivers. The video inputs are via BNC connectors as is the (currently) single video output. The audio inputs
are XLR 3 pin female, unbalanced. I am told that it is possible to link two of these devices via a network cable to
run an 8 camera system with sync playback.
I was certainly very impressed by the Lynx Video Assist system - I had arrived with a mental list of requirements
and questions only to find that the majority of them were already answered by the existing system. The few
remaining suggestions (multiple in/out points, selection of multiple colours in chroma-key (e.g various shades of
blue), a VDA to allow several outputs, switchable output to allow the display of the live picture whilst editing on
the Lynx and, possibly, automatic back-up of files to an external drive) were eagerly accepted with promises of
upgrades to accommodate them.
Will I buy? Oh Yes. Price-wise it compares very favourably with the other multi-camera units out there - but it
does so much more and does it so much better than most. Now all I have to do is impress the Bank Manager!
Cheers Bob Bridges, UK. …………….September 2009 none in the USA
Q-TAKE HD from Slovakia
– 2 camera capture on a Mac with all bells and whistles designed by a
director/inventor. $12,000.00 for software.
– Sold by Nebeker in Utah, and someone in NY: Made by IN2CORE, Kollarova
22, 900 27 Bernolakovo, Slovakia.
– Note from field: spring 2010 version crashes very rarely on pushing record,
needs 60 sec+ to reboot .
Vlado Struhar : “I'm a designer and developer of this video assist software. I have
20 years programming experience as well as 10 years of experience as an award
winning commercials director (www.vladostruhar.com ). I have also artis doctor
degree (ArtD.) in film editing (digital postproduction). I'm a co-owner of AVI
STUDIO (www.avistudio.sk ), postproduction and rental company in Slovakia.
2 years ago I have started to work on HD Digital Video Assist based on Mac
platform. It took a year to get the prototype, which I have extensively used on our
RED ONE productions. QTAKE HD runs on OS X Leopard using latest software
and hardware technology available from Apple, Inc. It uses QuickTime-based
movie files so you can share your media across QuickTime compatible
applications, such as Final Cut Pro. QTAKE HD uses video input hardware from
AJA and BlackMagicDesign to capture High Definition video, audio and timecode
information. Each clip is captured to a high-speed media storage and can be
retrieved instantly for playback or editing.”
(Note: a system designed by one person will only be alive as long as that person
is alive and willing and able to support the technology, if that person develops
other interests you are on your own ed.).
Vlado Struhar , +421 905 659 757 firstname.lastname@example.org
repped in USA by : Mark L. Pederson
580 Broadway, 8th Floor, New York, NY 10012, p 212.260.8400 f 212.260.2437
review article: http://www.finalcutuser.com/2009/04/10/offhollywood-announces-
Vlado writes: IMHO, the best video assist solution for Stereoscopic production is
the QTAKE HDx2.
I will tell you why.
It is true that most popular monitoring solution is the HD 3D monitor with HDMI
input (JVC makes good ones). It uses "interlaced" polarized film in front of the
screen to differently polarize odd and even lines. So essentially, when the crew
put their cheap glasses on, they will see odd lines with one eye and even lines
with another and the brain will construct 3D image out of it. 3D monitors however
don't do any processing. They have only one input where you need to supply
muxed 3D video signal.
QTAKE HD is the Mac based software running on an off-the-shelf 8-core MacPro
with AJA Kona3 and internal software raid of 3 drives. It uses Kona3 to capture 2
streams of HD-SDI in perfect sync (you need to genlock 2 cameras anyway for
3D). But... unlike other video assist equipment, QTAKE will further process 2
separate streams to combine them in any industry standard 3D muxed output
(line-by-line, side-by-side, dlp mesh...or even anaglyph). You just need to
connect secondary DVI output of your MacPro to 3D monitor.
Or use conversion to and from SDI (or optical fiber) to send this signal further
than 15 meters.
QTAKE HD is recording both cameras separately, so you can change interocular
distance and convergence anytime per take (by horizontal image shift). There is
also an adjustable overlay grid that is used to visually check the amount of
QTAKE HD can even edit 3D on set. Or render out mixed 3D for editorial.
Feb 2010: Note, that QTAKE HD software is not limited to 45lb tower. Many
of our clients have additional HDx1 laptop setup for run-and-gun, or 2nd unit.
DC powered :)
Important thing is that you can copy the files to your main unit cart, retaining the
scene data, and have it accessible in your central database. And you can use all
your footage in the Edit or Composite.
You can have 8 TB of affordable internal Raid storage in MacPro - that's 400 hrs
of HD 1080p24 or over 1000 hours of SD footage!
QTAKE HD goes far beyond standard video assist with 3D Luts, Color
Correction, Scaling, Rotation, Flipping, Cropping, Masking, Overlay of Grid and
Scene Data, Stereo 3D Muxing, Editing 2D or 3D, Compositing of Live and
Playback with Blend Modes, Wipes, Green/Bluescreen and Luma Keying. In real-
time dual HD. Unmatched RED ONE support, Rendering, PDF Reports,
Screenshots, Final Cut Pro XML Project Export, EDL Export...
But the MOST important feature of QTAKE HD is it's constant evolution. Most of
the video assist software is the same as it was 5 years ago. QTAKE is getting
new features on a monthly basis. And, as Gaylen said, you will fall in love with
it. Cheers, Vlado www.in2core.com http://www.qtakehd.com
and a review from the Yahoo group by Andrew with notes by Vlado:
Re: QtakeHD Demo - Andrew's Review
Posted by: "vlado.struhar" email@example.com vlado.struhar
Tue Jun 9, 2009 9:39 am (PDT)
Andrew, thank you for joining the LA demo and writing this review. There are few
things I will try to correct with inline comments...
> This is my review of the QtakeHD Demo that took place today at Keslow Camera. I do
Video Assist in Los Angeles, mostly on commercials. I'll give a summary and then talk a
little bit about hardware for those who have the patience. I won't be placing everything
I've learned into this e-mail.
> > QtakeHD is Mac-based HD software written by Vlado Struhar in Europe and repped
in the US by Mark Pederson of Off Hollywood in New York. Mark gave the demo and I
invite Vlado and Mark to correct any mistakes I've made.
> > Price: about $10,900 US for the full, two-camera version (software-only).
> I understand they're offering a 15% discount for the next 30 days, but don't take my
word for it. Check their website for pricing details.
Thats right. This is for all of you that didn't have a chance to use NAB discount.
> Basically I'm impressed. Qtake is well written and thought-out, and it sounds like Vlado
is up late many nights, making changes and adding features.
> You buy the software from them and buy the hadware yourself. You'll need an Intel-
based Mac. If you want 2-camera or 3D support you'll need a desktop MacPro with a
Kona III card (among other things). If you just need 1 camera, or you're just demo'ing the
software it sounds like you can get away with a MacBook Pro and an AJA ioHD (among
> While they're currently shipping the product, they're still working out the kinks.
> - Record 2 cameras HD from a single Kona card onto a single RAID hard drive.
> - Playback 2 clips, in-sync, at up to 1080, to 2 HD-SDI monitors
> - Composite 2 sources in three different ways: Live to Live, Playback to Playback and
Live to Playback. All in real-time without rendering. You can even record live while
viewing your composite. Effects include Keys, Wipes and Dissolves, among others.
> - There's a DVE allowing you to Zoom, Rotate, Flip, Flop, etc. both live images.
> - There's a Color-Corrector for making image adjustments.
> - There's a built-in editor that's pretty different for those familiar with Final Cut Pro.
However it seems well-built and easy to learn.
> - Off-speed playback in percentage or FPS. (You currently can't ramp, but it seems
that affect is used less these days)
> - The interface is nicely designed with a customizable layout and a great feature they
call a "Cheat-Sheet". If you hold down the Function key, all the buttons on the screen will
display their keyboard shortcuts, allowing you to quickly learn the hotkeys for each
> - Extensive support for the RED camera.
> > Still Needs Work:
> Here are some things that still need improvement. Some of these things, they're
currently working on.
> - The list of recorded clips is currently a separate window displayed in thumbnail
fashion. It's currently grouped by Camera A or B, but no other grouping exists. There
doesn't seem to be a text-based list.
I'd like to correct this, because in my opinion the CLIP BROWSER in QtakeHD is the
most innovative and offers the FASTEST access to specific take. I'm really proud of it.
It uses tree-based structure to group/organize your clips in the most natural way:
There are 3 windows in the browser.
1. SCENES (text based)
2. SHOTS (text based)
3. TAKES (thumbnails with text overlay)
So. instead of seeing 3000 clips in sortable and scrollable table-view, like most
compertitors provide, in Qtake you see lests say 15 scenes, each with 20 shots, each
shot with 10 takes - all fits into single screen.
You don't have to group it, sort it, scroll it and the finally pick the one director wants to
see. You just click the scene number, shot letter, and take - and it automatically loads
both cameras if you want.
And if you are playing back the takes of the same scene/shot, browser takes you always
to current one.
Besides selecting camera, you can FILTER clips based on director's RATING (0-3) and
also show with or only REHEARSALS.
You can also do multiple selects to SEND specific takes:
- TO REFERENCE container (this is special storage for most often used clips -
- TO EDITOR (it automatically creates sequence with selected clips in the order of
...or just use it to delete multiple clips, but you have mentioned this in your review.
And last thing is the SEARCH - just type the SCENE/SHOT and browser takes you
The only thing that is not yet finished in browser is the SORTING by day, or some other
HOWEVER, since I'm actively discussing QtakeHD development with Viktor Lonek, I
have promised him to build the "competition style" text browser, because lots of you
guys are used to it.
I encourage you though to try Qtake's tree-based clip browser - after few days you
wouldn't want to use anything else... :)
> - You can input audio with the XLR's on the Kona card. But to output audio you must
use the outputs built into the Mac, such as Headphone, Line-out or Optical Toslink. They
still need to test audio sync on output. If any of the display cards or converters induce a
delay then they plan to set an audio offset in the software so that they'll be in-sync when
playing back to HD-SDI monitors.
No problem to put adjustable audio delay into QtakeHD, everybody has to do it because
of LCDs and PLASMAs that have much greater latency then simple converters.
> - Importing a clip currently takes a long time, even if Qtake recorded the clip. But this is
a bug they're actively working on.
This is not a bug - importing is actually COPYING the clip to its storage to keep it safe.
Next build will feature LINKING the clips (import without copy) - and this is instant.
> - It currently only plays or composites Quicktimes, so if you have a video or still in
another format you'll need to convert it to Quicktime before bringing it in.
> - To input Standard Def you'll apparently need to up-convert it before plugging it into
This is incorrect. You can use any SD/HD SDI input, but both channels has to be same
> Summary Conclusion:
> QtakeHD is an expensive system once you factor in all your hardware costs, but it
accomplishes things I haven't seen in any other system. Recording, playing back and
editing HD is something we've been doing with other systems. But if I got this system I'd
be excited about the live compositing, two-camera support, and the DVE. It also appears
to handle 3D input and output very well.
I'd like to ask: expensive compared to what?
> > Below are some other notes about hardware and such:
> > HARDWARE:
> > You'll need a creative set of graphics hardware, to accomplish outputting 2 cameras
to SDI monitors.
> All this hardware is listed on their site.
> > To output you go through an nVideo GT-120 graphics card,
> to a Matrox TripleHead2Go box,
> to 2 Geffen DVI to HD-SDI converters. (if you plan to run HD-SDI to your set monitors)
> > Add to this the other hardware you need:
> - Mac Pro desktop (with Monitor, keyboard & mouse)
> - 3-disk RAID hard-drive
> - Kona III capture card
> All this hardware could cost you from $6000 to $9000, by my estimates.
> > OTHER NOTES:
> > - Composites that you create in the Compositer can be rendered to another file for
later viewing. But you can't simply hit "Record" to capture the composite.
You can simply press RENDER.
(Someone mentioned the possibility of taking your live composite output and running it
back into the 2nd input of your Kona card. Then you could record a live camera on the
first input and the composite on your second input.)
No need. Just render out in almost realtime speed.
> - It looks like you can take any 2 clips and pick a sync point, then play them back
together. They don't have to have been recorded at the same time.
> - When you cut, the Qtake instantly cues the last take so you only need to hit Space to
start playing. Nice feature! (this is changeable in the settings)
> - Recording codecs currently available: AJA Uncompressed, Apple Intermediate, Apple
ProRes, Apple ProRes HQ, Apple DVCPro HD, Apple XDCam EX. (the system doesn't
support adjustable quality levels)
We do support M-JPEG quality settings, but MJPEG is available only on single camera
systems so far.
> - You can apparently export your edit to Final Cut Pro, but you can't have both FCP
and QtakeHD open at the same time.
Yes, because they would fight for Kona...
> - The editor does not currently have transitions (like wipe or dissolve).
> - They don't support other HD input devices like the Matrox MXO2 or the Motu V3HD.
We will support them for single camera system.
> - Support for Auto-Recording from the RED Camera is upcoming, once RED releases
the proper Firmware update.
> - Deleting multiple clips in the thumbnail list worked well when tested.
Thanks, Vlado Struhar IN2CORE >
> Enjoy > -Andrew Rozendal
[Wolf note: seems that in the “live” setting the pix on the screen is 3-4 frames latter than
LIVE… that’s impossible and requires a switch to bypass the whole enchilada during
takes and rehearsals ‘’ maybe a cheap hardware switch would do in a pinch… you got
to have a ROUTER also… arrrrrrgh. Keith Collea used one on a lower budget film in fall
of 2009 and he said it worked “flawless” ].
Posted by: "Gaylen Nebeker" firstname.lastname@example.org
Fri Feb 26, 2010 3:14 pm (PST)
Bryan, I have been doing video assist for years in HD. I am the western US dealer for
QtakeHd and a reseller for Playback technologies Raptor. The QtakeHD is the most full
featured video assist system ever made but as noted here it is not a run and gun system
for 2 cameras. I do however have it nicely packaged for my cart and it does everything I
have ever wanted in a video assist machine. A couple of Ki pros for run and gun work
and your set. Unless your not...
The ki-pro does not have in and out points or slo-mo and no master slave
controls either. For run and gun I use the RaptorHDx. It is portable, runs of 12 volts,
add a Nebtek 7" HD monitor and it is a great combo unit. It was developed for video
assist, has a great video assist database and all the video assist features you need. In and
out points, off speed playback, looping, rehearsal mode video assist file naming. fast
clip searching.. the list goes on. I can do most functions from the front panel and then If I
add a keyboard, monitor and mouse, KVM and LAN cable I can control 2 or more decks
easily with quick access to all takes and features. Yes 2 decks can easily be packaged up
into a breifcase 2 cam fly pack.
If you need more you can add an HD mixer but now it gets really pricey.
Keep in mind that Qtakes powerful realtime features go way beyond video assist... The
record, playback, edit, and composite features are awesome, but add in the ability to
deliver on set dailies for RED workflow with RED Auto start, reverse pulldown and
auto R3D file-naming and stereo 3D muxing...and its worth the bulk of the package for
most of my work. Last week I used it to record the master footage for a Sony EX3 shoot
because recording in Pro res 422 provides 4 times the color sampling of the Sony EX3.
*SO...* In an ideal world of HD shooting...Use QtakeHD and get yourself a couple of
RaptorHDX decks with Nebtek 7" Hd monitors for full featured run and gun !
As for the macbok pro briefcase. I am working on one right now for the QtakeHD, you
could start with the I/O express from AJA . Hook it up to firewire 800 and shoot! Then
get a trial version of Qtake. Gaylen Nebeker www.nebtek.com
Is offering our multi-channel, 12 Bit, HD444, uncompressed recorder that can
support 2D, 3D and 3G all for only $24K
The Maxx 2020 Uncompressed HD recorder/player
Jim Peacher Director of Broadcast Sales
360 Systems 31355 Agoura Road Westlake Village, CA 91361
Direct Tel: (818) 735-8221 Main Tel: (818) 991-0360 Main Fax: (818) 991-
HD mixer Panasonic AV-HS400A
in 2010 $ 12,000 rental in LA 600 /day smaller version
announced for later in 2010 – not sure if it does resizing and repositioning. It will
Panasonic Vs. TV LOGIC monitors
TVLogic takes a long time to stabilize after loosing sync or signal – as in
switching from live to Playback. The TV logic is very slow to show menus. The
audio input is a mini jack . TVLogic - price is lower than the Panasonic. TVLogic
has an audio dembedder.
HD memory recorders
New in April 2010
7” monitor recorder lives on camera with wireless
remote fro DPs.
CineForm, Inc. 380 Stevens Avenue, Suite 313
Solana Beach, CA 92075 Tel: 858.345.2645 Fax:
It is compatible with HDMI/HD-SDI/LAN cameras and
records to Uncompressed 4:4:4 or 4:2:2 HD, Apple ProRes, Avid DNxHD, and
“Visually Perfect” CineForm™ Digital Intermediate files in MOV format via HDMI
and single/dual link HD-SDI.
It has a built-in 7” high-res preview/focus/playback (focus quality 1024 x 600)
monitor and physical button interface for all commonly used functions. Record
settings and playback transport are accessed via touch screen interface.
Records to standard removable laptop SSD for maximum compatibility/reliability
and cost-effectiveness using www.cineform.com for details and complete specs
and white papers on the codec. 12-28V DC power source. 50 to 65 watts per
hour while recording and roughly 35W/h while idle OUCH !!!
“One thing that caught me by surprise while shooting in a live performance
situation, although it shouldn’t have (RTFM), was the fan sound. The recorded
files were noticeably sharper and cleaner than the files recorded to my camera’s
media cards. “MSRP: $9,995
Ki-Pro AJA New in 2009:
interesting AJA Recorder for $4K:
Not all functions are implemented in March 2009, will not do
slo-mo or reverse (yet?), HD ready. Records on SD cards and
custom 250G drive on file-formats good for FCP. Said to
behave erratically when loosing signal during record.
Sometimes asks to reformat the whole storage medium (Hard
disk) just because one file was corrupted. Ouch. These
features may change in 2010. Still in development it seems.
PS.: Nebtek’s sunbright monitors look great on this recorder
if you have the bucks
Western area sales manager John Thorn email@example.com
"Sarah Sher" firstname.lastname@example.org sarahbsher
Mon Sep 20, 2010 2:06 pm (PDT) sais:
I can answer a few questions about the Ki Pro:
For back up it's great and for short shows it's great, but for a long show doing
video assist on it, well, that will be a challenge. It's doable, just takes a lot of
attention. (I've done a couple 3 week shoots with no hiccups)
You have a choice to label the takes either by clip number or by scene numbers.
One issue it has is that it won't do double alphas.
When I use it, I also bring in my MacBook Pro with external hard drives and do
daily downloads of the Ki Pro footage.
On set, it's easy enough to call up and play back scenes shot that day, but when
asked to review a take that has already been dumped to my hard drive, I do one
of two things: either play back on my MacBook, or copy the scenes back on to
one of the Ki Pro drives.
new smaller version available in late 2010 –
under $1,999 street price.
10 Bit 4:2:2 record/playback via user selectable ProRes codec
(Proxy through 422(HQ) Full front panel control surface, XLR
input with record level setting, headphone output. Records to
CF cards so total on-line record time will be limited based on
selected codec quality setting. Can you say run & gun
recorder?? The Mini only accepts SDI/HDMI inputs. No
composite video or down converter.
AG-HMR10 Panasonics small HD recorder:
Does not record at 24fps from external signals, only from companion camera.
EDIROL also new and cheap recorder
FS-H200 Pro Portable Compact Flash DTE Recorder
The all new FS-H200 Pro Portable Compact Flash DTE
Recorder brings ultra-reliable solid state acquisition with Direct
To Edit Technology to your DV or HDV camcorder. The
FS-H200 Pro allows you to view thumbnails and playback proxy
content, create and share MPEG4 proxy clips, assign clips to
folders with custom names during recording using the REELS
functionality, and much more. FS-H200 Pro utilizes standard Type 1 removable
Compact Flash media which provides fast, reliable, and low-cost recording.
is a miniature CompactFlash HD/SD SDI and HDMI
Uses High-Quality Sony XDCAM HD 422 CODEC
Selectable Bit-Rates from 18 to 280 Mbps
Tapeless Workflow (affordable Compact Flash)
Universal NLE Support (QT, MXF and MPG)
7 sec prerecord buffer http://www.convergent-design.com/
small self-contained with removable drive, no software – maybe a backup
solution, DV files. Low priced at $1200 or so
It’s reported to be reliable. IN 2007 the unit offers 99 bins, and 99 clips per bin.
Looped playback is per bin only, not per clip. 1/2 and 1/4 speed playback. DV
files supported by CinelogX and most major editing systems. NTSC out which a
lot of these small “on Camera” DV backup-recorders do not have. Probably 2000
in use by news broadcasters. Available off the shelf at Ametron, B+H etc.
WIFI BASED TX- RECORDER:
that's the one that sends video to iPads ( 10 sec delay), allowing Script and DP
to individually play back any take anytime they want.
new in development in 2010
SD hard disk recorders: Arcos etc..
Software for Mac only:
You have to pay/register for it, but it still works:
Stop motion creator
Better than AV toolbox:
Big VooDoo TBC, KeyWest Techonology
Very complete control: they have a very un-friendly front panel multi-layered
push-button sequencing operation that for the average assist guy is way to
Nebtek repackaged something (probably the AVT-8710) – seems to work better
than Hamlets in 2008. why??
AVtoolbox - Green slime TBC
The one everybody uses because of the price $ 180.00:
AVT-8710 Time Base Corrector
is a Multi-system Time Base Corrector/Frame Synchronizer that accommodates
most NTSC, PAL and SECAM video signal standards. Awkward to adjust, but
“basic” settings get you thru most days…… probably not good enough for
also: TV One 1T-TBC Multi-Standard Time Base Corrector, excellent but hard to
learn - but better quality than the green slime above. $ 360.00
S.two HDSDI High Def recorder
> S.Two Digital Field Recording home page
> Master Workflow for Features
> Master Workflow for Commercials
> Digital Film Workflow - On Set
> Dailies and Digital Archives Workflow
> On Location Dailies
Note: output jitters often and has to be corrected with a “reclocker” for
most recorders, the downconverters don’t do enough. ARGH summer
2010. The AJA HD10DA 1x6 is the most widely used reclocking DA in use. Cost
about $ 550.00 - 650.00.
“One curious thing about the RED is that the live image coming out of the camera
is a 1280 x 720 x 59.94fps signal, but the camera can playback from the hard-
drive or flash card at 1920 x 1080, and at the speed the clip was recorded at for
Please note the RED has an HDMI output, but I believe if you use it then the SDI
output or the Eyepiece is affected, but check on that to be sure. Unfortunately
HDMI has real limits for cable length, anything more than 15 feet and you will
need the better quality Category 2 to go even 50 feet. Wikipedia has a basic
explanation on cable length that clarifies the details.
One alternative would be to feed an HD-SDI cable to the 42" monitor, then
convert it down to HDMI with an AJA Hi5 converter. Personally I found the Hi5
image wasn't as good as I was expecting, so I used the AJA HDP converter from
HD-SDI to DVI and fed a Dell 24" computer LCD.” David McKnight, Vancouver,
HD – Mac (PC too) interface:
http://www.matrox.com/video/en/products/mxo2/output/ new in 2008 older 2005
card: While playing back 23.98p footage is possible with the MXO2, at this point
capturing 23.98p is not supported in the current MXO2 drivers.
Black Magic has interesting internal cards for MAC and PC
AJA – the I/O card at $ 3000 new in 07 is used with Final Cut Pro by some video
assist folk in large MACs on the set successfully. You can record and play and
edit HD (all flovors) in FCP. Keith Collea <email@example.com> is the AJA paid
expert to answer questions – he is a former video assist operator now also Red
Matrox has a card out too $ 1500 (supposed to do 23.9 as of spring 2009)
Some thoughts by Peter Gray(this needs editing) [there are some interesting thoughts buried here ed.]:
External Convergent Design Flash XDR, together with a notebook computer, or micro-ATX computer.
Cost is $5,000 for the XDR unit, plus $1,000 for a computer = $6,000 approx. (per camera)
Pros: Self-contained for simple playback only. Wide choice of MPEG Codecs. Minimal, or no,
transcoding to Blu-ray formats. Battery power.
Cons: Relatively expensive. No direct interface with computers (so you need to re-insert Flash Card in
computer with a NLE when needed)
Panasonic AG-HPG20 P2 Card recorder, together with a notebook computer, or micro-ATX computer.
Cost is $5,000 for the P2 recorder, plus $1,000 for a computer = $6,000 approx. (per camera)
Pros: Self-contained for simple playback only. Similar cost and operation to Flash XDR option above,
but better user-interface. P2 Cards can be backed up to an external HDD. Battery power.
Cons: Relatively expensive. No direct interface with computers (so you need to re-insert P2 Card in
computer when needed). Only supports 59.95p and 60.0P frame rates, so only suitable for a handful
of cameras (mainly Panasonic).
Note: Can be interfaced with a computer via USB 2.0 to edit material stored on a P2 Card, but you have to
switch in and out of this mode for normal operation.
Sony PMW-EX30 SxS Flash Recorder, together with a notebook computer, or micro-ATX computer.
Cost is $5,000 for the flash recorder, plus $1,000 for a computer = $6,000 approx. (per camera)
Pros: Self-contained for simple playback only. Similar cost and operation to Flash XDR option above,
but better user-interface. Can interface with an external HDD. Battery power.
Cons: Relatively expensive. No direct interface with computers (so you need to re-insert SxS Card in
computer when needed)
Fast HD computer with AJA or Blackmagic Design Card (or external box) for capturing uncompressed
HD-SDI. Cost per camera is about $2,000 for the computer plus $400 to $2,500 for the card or box (a
relatively "cheap" option). For the cheapest card: http://www.blackmagic-design.com/products/decklink
Pros: Uncompressed, so ultimate in terms of quality. Can be fully self contained in one unit (although
large-ish). Relatively inexpensive.
Cons: Needs a RAID system to capture and play back uncompressed HD video (at least four HDD in a
Raid Zero array). Needs a fast, powerful computer. Difficult to run from battery power (needs inverter)
large computers draw a lot of current.
External Motu V4HD box interfaced via FireWire 400 or 800 to a notebook computer, or micro-ATX
computer. Cost per camera is about $2,500 for the box, plus $1,000 for the computer = $3,500 approx. (a
relatively "cheap" option). See Motu V4HD here: http://www.v4hd.com/
Pros: Relatively inexpensive. Works with most computers (doesn't require a special, high-end, fast
computer). Does Pro Res, as well as DVCPRO HD.
Cons: More time consuming to transcode to Blu-ray formats.
Extra Benefit: This Motu box is one of the few options available on the market that de-embeds Timecode
from the HD-SDI stream, and makes it fully available (even as an external LTC output).
1-Beyond Wrangler or Wrangler Pro unit, with AJA or Blackmagic Design Card (or external box) for
capturing uncompressed HD-SDI.
Cost starts at about $7,000 for the base unit (with various add-on options available)
Pros: Uncompressed, so ultimate in terms of quality. Fully self contained in one box including large LCD
screen. Relatively expensive (although very versatile).
Cons: Needs a RAID system to capture and play back uncompressed HD video (at least four HDD in a
Raid Zero array).
Note: It’s really similar to my self-built System #4 above, but nicely packaged by this manufacturer (at a
Next is my ideal system. A fast HD computer with a MPEG-2/4 HD Encoder PCI-e Card capturing
directly to a HD codec that is supported by the Blu-ray spec, namely (1). MPEG-2 HD, (2).
H.264/MPEG-4 AVC, or (3). VC-1.
Cost per camera is about $2,000 for the computer, plus the cost of the encoder card.
Seems to be able to capture anything coming via HD-SDI (SMPTE 292M). It even supports LUT's
(although I'm not sure if you can import an external LUT file?). But you can make your own LUT's with
the provided software. Also good for still frame capture (frame grabs).
It’s called the Imperx HD-SDI ExpressCard54 Adapter. Here's the company's web site:
Price? I saw it listed on a couple of web site for US$995 here:
http://www.astrovid.com/products.php?subcat=67. and here: http://www.rmassa.com/manu/imperx.htm
However, there is a kind of Catch 22 with the Imperx HD-SDI ExpressCard54 Adapter. It requires the
larger ExpressCard54 slot. This is not commonly available in lap-top computers (I believe not MacBooks,
for example?). But it does exist......
I just did a quick search. Looks like Panasonic incorporates ExpressCard/54 slots in all their fully-rugged
and semi-rugged models of their Toughbook brand of portable computers. So it is not impossible to find
lap-tops with ExpressCard/54 slots. But no doubt, it’s going to be harder to find I guess?
Decimator Design 2
Australian made downconverter. It’s a low cost
miniature 3G/HDSDI to NTSC/PAL with Aspect Ratio
Conversion: Anamorphic, Letterbox, centercut. Power
supply included. Rental prices are still at 95.00 per
day on a 3-day week (2010 July), same as the AJA
rates. New 2010 list $ 495.00.
It downconverts to NTSC or PAL Composite signals
and to HDMI, and de-embeds audio (no other flavors of SD, be it digital or
analog) [September 2010 version will have audio meters]. Input can be either
PAL or NTSC HD-SDI and output can be NTSC or PAL switchable composite
Has problems with 23.98 frame on HDMI… Perry Drogo says: “The Decimator2
will pass all formats of SDI to HDMI with the next Firmware update, which will be
available at the end of October 2010. For now it works as the Decimator 1 does
fine for composite out at 23.98.”
Importer and Rep: TECADS Inc. Contact: Perry Drogo,
Phone: USA 949 597-1053, 23 Dellpadre street, Foothills Ranch Ca. 92610
Email: firstname.lastname@example.org Website:
In stock at: Alan Gordon, Sales guy is Ken 323 466-3561 in Hollywood
Owner: Wayne Loucks email@example.com
And Birns and Sawyer
And Abel Cine
Also In stock at: Charles Papert http://www.charlespapert.com/
firstname.lastname@example.org c) 323-350-8822, rep for TECADS he is a Steadicam
operator lives in Los Feliz and can give all round good advice.
Powerplug and special cables: there is a very unusual power plug on the
Decimator. Look at it closely it is polarized with a little lip. You must align the
lip on the plug with the hole on the receptacle for it to insert and hold!!!
We make cables adapting to all cameras or fancy “Y” cables to Decimator and
any transmitter. Most are $ 150.00 some more. Call we have most in stock. Wolf
Note: The RedOne Camera sometimes (often) has a jitter in its HDSDI output.
This is not cured by downconverting, only by a good “reclocker”. Folks prefer the
AJA HD10DA because it works while the 3G version of the AJA DA has caused
some operators problems. Others like the Black Magic.
Signal Generator: http://www.decimator.com/products-3g-tpg.php $1200.00
not sure if there is a lower priced one available. Check out the Decimator Design
(Redbyte Design) 3G-TPG Test Pattern Generator. All format HD/SD with
moving pattern and embedded audio in SDI. SDI outputs only no HDMI or analog
video. Battery powered for instant signal source anywhere on set especially
handy for checking cables and monitors with a known signal.
Have similar products, carefully check details, some say their products handle
Blackmagic Design Mini Converter HDMI to SDI
12 volt - they say it needs a mod to
regulate the 12V for $ 150 internal
AJA makes them too
Others by Miranda, Gefen, Kraemer etc…
Interesting small switcher for HDSDI
HD monitors 7”:
Possibly interesting - have not seen them. Available from Film Tools
http://www.filmtools.com/ in Burbank. 24 volts, audio disembedding. They have
also Ican and others http://www.filmtools.com/camonboarmon.html
These are all small monitors I know of:
Boland (HD LCD) ,GPI (greenscreen SD CRT), LC (HD LCD from Bulgaria),
Lumavec/Blackbird (SD LCD), Marshall (HD LCD, OLED), Nebtek (HD LCD),
Tiffen (HD LCD, OLED), Transvideo (HD LCD), XCS (greenscreen SD CRT)
Transvideo – made in France - has an expensive product with the most features;
the Tiffen Ultrabright is in a similar class. However both are in the $6 to $7K
Marshall and Nebtek, at $2100 and $2900 respectively, have units that provide
similar viewability at a fraction of the cost. The Nebtek has a larger display being
16:9 and will have user adjustable framelines, which is putting it at the top of a
lot of people's lists. Marshall is a Chinese supplied USA front box house.
The Blackbird was the best SD LCD we heard of in terms of view-ability, but at
Behringer UltraLink Pro MX882 8-Channel Splitter/Mixer
ARRI HD tap
Details on the new seldom seen HD tap new in 2009, 2 outputs, 3 versions for
film cams, fit on all old cameras with small mods… its 1020x1080 16x9 or 4x3
or anamorphic, has ground-glass grain elimination software, writes still frames to
USB stick, Arri has a new HD monitor,
Links to FAQ
Interesting collection of operations and service manuals for $:
Possible cheap video assist intercom:
Steve Irvin wrote a great white paper dealing with HD video assist:
Go to http://www.tvprogear.com/ click on the resources tab and there are a
bunch of good articles
Good little antenna lesson: http://www.professionalwireless.com/antenna.aspx
Want to find out how to coordinate frequencies on the set? Here a computerized
approach to intermodulation:
A short version on transmitters:
Have a look at all useful products:
A video assist operator’s handbook hundred of pages of thrills and tips:
Roundup of video assist recorders:
Cat5 cabling specs and HD cabling tech hints:
Sync with RF by the various capture devices and timebase correctors:
A harebrained LCD cleaning instruction page:
If you read this manual you will know more than most about trans mission:
Want to know about Batteries build your own and buy cheaply?
HDSLR and video assist
This document updated Roundup of video assist recorders:
www.wolfvid.com email: email@example.com
You know prices change and specs are illusions. I tried to not advertise the vaporware out there
I will add notes from manufacturers in quotes if they care to write to me. (Only Steve Irving has
as of April 2009) Sorry for mistakes and omissions and all the usual legal waivers apply.