Cinedeck Overview and Features – YOUR WORKFLOW, YOUR WAY Whether it’s SD, HD, 2K, UHDTV-1 or full 4K,; multi-channel, multi-codec Cinedeck recorder / players provide all the flexibility you need. Working a single-camera shoot or multi-cam live event, creating or changing master deliverable files, managing telecine transfers, archiving and content migration – just about any production or post-production application, Cinedecks deliver unrivaled speed and versatility. All current Cinedeck models run the same easy-to-use interface and are built around the same video hardware. They are interchangeable, supporting the same workflows for a wide range of production and post production tasks. All Cinedeck models offer simultaneous recording of all your master and proxy deliverables to get you to post faster. Local disks, SAN, NAS, etc., your files can be recorded directly to the storage you need to work from.

Pavtube HD Video Converter for Mac is an all-in-one video converter program that supports converting 1080p/720p HD MKV, MOV, MXF, MTS, M2TS, M2T, TS, TiVo, M4V, MP4. Oct 21, 2013. As the Sony XDCAM Camcorder records MPEG HD422 codec MXF format, it's not well for editing in Premiere Pro CS3, CS4, CS5, CS6 on Mac, you will encounter importing/video/audio problems when you want to load Sony XDCAM MXF in Premiere Pro CS3, CS4, CS5, CS6 on Mac, the best way is to.

Additionally, redundant recording gives you peace of mind by writing secondary independent files to an additional record destination of your choosing. For post and finishing workflows, Cinedeck offers cutting-edge, patent-pending technology with that allows you to replace a single frame or multiple frames of video, an audio stem or track, or multiple audio tracks and video simultaneously, in a closed and flattened file on the most popular editing intermediates, including DNxHD, Prores, AVC-I and XDCAMHD. Read on and discover just a few ways Cinedecks are used in a variety of industry-specific applications. For more information on how Cinedecks can fit your workflow, to speak with one of our product specialists. Download the Cinedeck Features (listed alphabetically) Cinedecks support a broad range of features, many of which carry across between all models. Follow the links below to each of the features for more information.

If you have a question about any of the features or require a capability not specifically addressed, feel free to. The Features List can be found in the Full Brochure. 4K: ZX45 supports 4K YUV (4096×2160) and UHDTV-1 YUV (3840×2160) recording while simultaneously writing HD master files, proxy files and streamable H.264 files, all with associated metadata and the file naming you choose, to smooth the process of match-back between the various files. The HD deliverables can be created using any of the appropriate master and proxy codecs on the systems.

ZX45 supports one 4K YUV or one UHD YUV source: • 4K / UHD • HD master files HD Proxy files • Streamable h.264 files which can be delivered live by a streaming server Find out more. Assemble Edit / Pause Record: The Cinedeck user interface in later 4.5 releases can very closely mimic and in some ways surpass the assemble editing capability of tape systems. Because of this, Cinedecks are very applicable for tasks such as Live-to-File and compilation recording. All of these Cinedeck recordings result in a single flat file. • With “Pause Record”, recording can be temporarily halted and resumed as needed to combine various content into one file. The transitions or edits between sections are clean like an assemble edit. During recording, the operator can press the ‘Pause’ button whenever needed.

Recording does not continue but the file remains open. Pause can be released as needed and when the full event has concluded and the user selects Stop, the file is finally closed. • “Pause & Seek” is virtually identical to assemble editing.

It is based on “Pause Record” but has the added ability for setting an edit-in-point to start the subsequent recording at a timecode point within the already existing content. “Pause & Seek” can be used on several channels simultaneously. • While not strictly “assemble recording”, editing to a blacked file is similar to working with a blacked tape but there is the added advantage of having full play access to the file while recording is occurring. Particularly the ability to shuttle or scrub backwards and forwards and review any section, provides complete confidence during a recording. AS-02, AS-11 / DPP: • AS-02 and AS-11 are MXF Op1a file format recommendations from AMWA – the Advanced Media Workflow Association.

Total Confidence Recording: High end VTRs provide a layer of assurance with their confidence record mode, the ability to display a playback signal off-tape while recording. When using Cinedeck’s Insert Edit capability, it is also possible to leverage Total Confidence Record. Total Confidence Record means you can fast forward, rewind, play and scrub, any portion of a file, on any player, while still recording to that file. Playback can be on another Cinedeck channel or via other file based applications such as QuickTime Player, VLC media player, etc. This allows you to check and double check, any part of a file, anytime, making the QC process much more efficient. EDL Auto-record: Each Cinedeck channel supports auto-record through the use of a simple ASCII text EDL to control the starting and stopping of recording events based on an incoming timecode. Version 4.3 enhanced EDL record with deck control providing tape transport control during auto-record from a VTR.

Included in the Cinedeck interface is an EDL editor for creating and modifying EDLs for each channel. Additionally, Cinedecks running the latest 4.3 version or later support importing CMX 3600 EDLs. File Naming: Cinedeck version 4 and later provides an extremely flexible and powerful project based naming system which allows the integration of user entered text and real-time data (wildcard variable substitution) such as the current time or starting timecode in file names.

This system allows users to generate virtually any file name and folder structure. • There are no Cinedeck restrictions on folder locations or the depth of nested folders. • Alternatively, an already existing destination folder can be navigated to and selected per encode. • The on-screen keyboard or a USB keyboard can be used along with copy & paste. • Easy to use template buttons for the real-time variables are available via the on-screen keyboard. • Six user created variables can be added to each project.

Growing Files: (Also known as “Edit while record” – Support on Cinedeck for growing files is available in release 4.3 with the MOV and Op1A wrappers and is being refined. In Adobe Premiere, XDCamHD can be recorded to a destination which is accessible by the edit system and content can be imported, refreshed and edited while recording is still underway. Similarly, Final Cut Pro can access MOV files while recording is still occurring to accessible storage. The editing of live recordings is currently only supported when external edit systems are used and is not supported by AMA (Avid Media Access). Support for editing of live recordings by the Cinedeck playlist manager will be added in a future release. Insert Editing: Simple, replacement of video and or audio in an existing file, similar to a traditional tape-to-tape insert edit, can be done with ProRes, DNxHD, AVC-Intra, JPEG 2000 and XDCAM HD content wrapped as MXF OpAtom, Op1a or MOV files.

Inserts can be performed directly from non-linear editors such as Avid Media Composer and Final Cut Pro, using the same procedures as if editing to tape. Directly on the Cinedeck, users can insert a live source into a file or perform frame accurate inserts of one file into another. All of these processes will often be more efficient than recreating the entire original destination file. Additionally, pre-stripped or blacked files (Cinedeck VMM – Virtual Mastering Media), can be created in advance and used as an insert edit destination for recording or editing in a non-linear fashion.

These black files can be recorded into while providing full random play access on another Cinedeck channel or they can be played with a third-party viewers such as QuickTime or VLC Media Player. All Cinedeck files, including pre-striped black files, can support up to 32 channels of audio. LUTs: Cinedeck recorders provide support for 1D and 3D LUTS (Look-Up Tables).

• Traditional video cameras process the video signal all the way through the camera path from the sensor(s) to the BNC output or recording. The very nature of that processing throws data away and permanently alters the images in order to fit certain specifications and limitations which put heavy restrictions on the ability to modify the images later. • A LUT is a filter, generally created in a color grading application, which is loaded and applied to an image to alter and refine its appearance in terms of color, contrast, etc. • With Cinedeck, the on-board display can have a non-destructive, real-time LUT loaded and applied to the images so the viewers (Director, Producer, etc.) will have a pretty good idea of what they are really working with. Additionally software versions after 4.3 support recording of proxy and H.264 files with a LUT applied to the recorded image. • The 4K release allows the LUT to be optionally applied to the SDI output for “video village” monitoring and additionally provides the ability to make proxy recordings with the LUT applied.

Master & Proxy: ZX40/45 can record all four (2K-HD-SD) inputs with the users’ choice of available master and a proxy codecs (for example ProRes HQ and ProRes proxy or uncompressed with H.264 proxy) while ZX20 can record two sources with a user selected master and h.264 proxy codec. Workflow package selection determines codec availability on ZX. • By sending the same signal to multiple channels, all Cinedeck recorders can be configured to record a source with two or more codecs of any sort such as; uncompressed, ProRes, AVC-Intra and JFIF. Playlisting: The Playlist Manager available from version 4.2 is effectively a non-linear editing interface built into the Cinedeck environment.

• Playlisting allows adding clips from any source folder to a new or existing playlist. • Clips encoded with different codecs can be mixed but need to be the same format, color depth and frame rate, for example; all 1080p 23.98 10bit (note: Mixing formats will be added in a future release). • Playlists support TV standard sized still images and still image sequences (PNG, JPG. • Single or multiple clips can be reordered. • Clips can be used in their entirety or can be trimmed with in and out points to restrict playback to a portion (sub clip).

Projects: All Cinedecks use a project based interface design for managing setup but in later version of 4.5, a completely project centric environment was introduced. All settings including folder and file naming, codec, wrapper, timecode, etc. Are saved with a project. Projects can be set and saved, imported, exported and recalled for a single channel or multiple channels. As part of a projects settings, particular emphasis is put on an extremely flexible and powerful naming system which allows the integration of user entered text and real-time data. RAID Attached Drives: Cinedeck ZX has an available PCIe slot for the addition of network adapter cards as well as custom HBA (Host Bus Adapter) cards to support high-speed local attached RAID storage such as the removable RAID modules from Dulce Systems. The Dulce Systems HBA is essentially a PCIe extender enabling fast access to multiple terabytes of removable storage for Cinedeck recordings and also allowing the Dulce drive chassis to contain a network adapter to provide the Cinedeck with fast 8Gb or 10Gb network connections.

Redundant Files: Each Cinedeck input can be written as master and proxy file(s) and the decks can write redundant files per input/encoder to multiple destinations, providing the media and connection support the selected bit rate and I/O needs. For example, a 4 channel ZX45/40 can write a ProRes master and proxy file for each input giving you four primary masters and four primary proxies.

Activating redundant record provides four additional or secondary masters and four secondary proxies for a total of sixteen files. Remote & Control: Cinedecks provide many options for remote control.

• All ZX allow independent RS422 control of each channel. • Decks can be the master or slave in a RS422 relationship, allowing control in either direction. • With Cinedeck as master over a tape machine, the user is presented with a full array of controls and status indicators from the slave deck.

Recordings can be made on either machine, i.e. Using the Cinedeck as the source or as the recorder. Insert edits can be made from the Cinedeck to the tape deck. • As slave, a Cinedeck can be controlled from a partner machine or via a separate control panel.

(note: Cinedeck models with RS-422, manufactured before Dec 2014, require a RS-422 crossover cable for master mode. Slave mode requires a straight through RS-422 cable. Newer Cinedeck models come with bi-directional RS-422 ports.) • Cinedecks utilize the Grass Valley AMP protocol for control over IP by external devices such as asset management systems and switchers. • All Cinedecks can be remote controlled using standard VNC remote access software such as Teamviewer which provide the full user interface at a remote workstation in the next room or miles away. • Cinedeck can be driven using several different USB control devices and the ZX has an optional built-in tactile control panel. • All Cinedecks can have an external data display, USB mouse and keyboard attached so a common setup is to connect the decks into a KVM switcher for central control of multiple machines. (note: The KVM system must provide DDM (Dynamic Device Mapping) which maintains the connection to all connected devices, regardless of the active device.).

Segment Record: Segment Record, also known as user-defined ‘chunking’, allows long recordings to be split into clip segments of shorter duration. During recording, each time the user specified duration is reached or the manual ‘break’ button is pressed, the current file is closed and the next segment file begins.

Previous segments can be fully accessed for playing and copying, etc. Additionally, breaking large recordings into smaller pieces allows content to be easily transferred to storage with file size limits such as DVDs or FAT32 drives. All Cinedecks write video and audio recordings as files to low cost and commonly available non-proprietary 2.5” SSD SATA drives. • Cinedeck SSD drives are mounted in removable, hot-swappable, dual drive cartridges or ‘sleds’. • Additional sleds as well as portable and installable receiving chassis are available to enable easy ‘sneaker-net’ workflows.

• Currently, Cinedeck only recommend and support Samsung Pro and EVO series SSD drives. • For recording and playback, all Cinedecks can also utilize external USB* and / or eSATA* and / or network storage including NAS (network attached storage) and SAN (storage area network) systems requiring client software. Additionally, the Cinedeck operating system can be setup to support iSCSI file systems. • Cinedecks are Windows 7 Embedded based so fully support SMB shares and client software is often available for SAN installations.

• Cinedeck ZX has an available PCIe slot for 8Gb fiber or 10Gb Ethernet cards as well as direct attached storage. (*note: All external and network recording devices and plans should be extremely well tested before utilizing in a production environment.) (*Drive assemblies of the same model from the same manufacturer can differ in firmware and internal hardware used so successful tests are drive specific and as such do not guarantee successful recordings with other units.).

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Camera The 4K Super 35 EXMOR sensor features approximately 14 stops of latitude and a wide color gamut. It offers a choice of XAVC or AVCHD codecs.

The XAVC codec can be used for 4K and HD recording, while MPEG-2 is limited to HD recording. The XAVC Long allows you to encode from HD to UHD using Intra-Frame or Long GoP compression with 10-bit 422 for HD and 8-bit 420 for UHD. The PXW-FS5 is equipped with an E-mount machined from solid stainless steel for stability and strength. It accepts E-mount lenses from Sony, Zeiss, and other manufacturers. The shallow flange distance allows you to mount most 35mm lens types, such as PL, DSLR, and legacy SLR lenses, including Canon EF, Leica, and Nikon as well as many others with mechanical adapters.

The camera includes an ergonomic handgrip that Sony calls a SmartGrip, which features Zoom, Start/Stop and Assign controls. The SmartGrip facilitates camera operation with the right hand, leaving the left hand free to operate the lens. The handgrip can be positioned at different angles permitting greater flexibility.

The camera features two SD media slots that support simultaneous or relay recording. One of the two SD slots also accepts Memory Stick-type media. All input, output connectors feature covers for dust protection; this applies even to the DC input and LANC connector. The media card slots and Multi-Terminal are likewise protected from dust by a swing away door. The camera includes a removable top handle that incorporates a second XLR 3-pin audio input that compliments the 3-pin XLR input incorporated into the body. Both audio inputs feature a selector switch for line/mic/mic+48. The top handle allows you to attach the LCD viewfinder to the camera, providing you with a choice of using the camera's built-in EVF, or a larger LCD viewscreen.

Audio level control is on the main body of the camera and offers automatic gain control. A built-in, electronic, variable ND system allows you to dial in anywhere from 1/4 to 1/128th ND filtration in the camera body, allowing you to eschew the use of optical ND filters.

The variable ND also features four preset positions; off, 1/4, 1/16, and 1/64. One SDI connector provides HD 10-bit 422 output. In addition, one A-type HDMI 2.0 provides 4K and HD output. Both the SDI and HDMI ports can output REC trigger and TC following Sony's established transmission method.

The PXW-FS5 records to XAVC-L QFHD 8-bit 420 (up to 30fps) and HD 10-bit 422 (up to 60fps) internally. The PXW-FS5 has Simultaneous-Recording capability with Individual Rec Trigger. Mirror or back-up recording is possible. There are two Rec s/s buttons: one on the camera grip, the other on the camera handle.

The target SD card slot for each trigger is assigned in the Recording Menu. The PXX-FS5 is capable of simultaneously recording proxy files with the same name and time code as the main recordings. The camera has a built in Wi-Fi capabilities that enables live streaming to PCs, tablets, and smart phones. When using content Browser mobile, the user can even control the camera wirelessly. One (1) Ethernet connector located on the rear panel of the camera provides robust connections when a reliable Wi-Fi link is not available.

Recorded movie files can be transferred via network to a designated FTP server. The following file format is available for FTP: XAVC Proxy files XAVC-L recorded files (4K(QFHD) & HD) AVCHD files (only m2ts stream files) RAW Upgrade A paid upgrade allows you to record 12-bit 4K and 2K RAW to external recorders. This supports 4K up to 60p and 120p for 4 seconds to the camera's buffer.

You can also record 2K up to 240p to an external recorder without being limited by a buffer limit. Imaging System Sensor Super 35mm Single-Chip 11.6MP Exmor CMOS Effective Picture Size (H x V) 3840 x 2160 LCD Monitor 3.5' / 8.8 cm Approx: 1.56M dots Viewfinder 0.39' / 0.99 cm OLED Approx: 1.44M dots ND Filter Variable: 1/4 to 1/128 Presets: Clear, 1/4, 1/26, 1/64 Sensitivity ISO Rating: 3200 (S-Log3 Gamma) Lux: 2000 lx, 89.9% reflectance Video Gamma: T14(3840 x 2160 @ 23.98p mode, 3200K)` Min.