XDCAM MXF Op1a Closed Captioning with Maccaption And
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Sony Recognises That Your Needs As a Programme Maker Will Vary Depending Upon the Type of Pro- HDCAM Uses Intra-Frame DCT Compression Using a Gramme Being Made
HDW-M2000P/20 HDCAM video tape recorder with CineAlta record feature and multi-format playback A high definition VTR for prestige and mainstream Features programme production HDCAM recording and playback Sony recognises that your needs as a programme maker will vary depending upon the type of pro- HDCAM uses intra-frame DCT compression using a gramme being made. This has driven the develop- compression ratio of about 7:1. There are four chan- ment of a multi-format high definition product offer- nels of 48kHz digital audio at 20-bit resolution. ing, including HDV for entry-level high definition oper- ation, HDCAM for mainstream and prestige produc- Selectable frame rates tions, CineAlta for 24P applications, and HDCAM SR The HDW-M2000P/20 can record and replay at 1080/ for productions where only the ultimate quality will 50i, 1080/59.94i, 1080/25P, 1080/29.97P, 1080/ suffice. 23.98P and 1080/24P. HDCAM has long been associated with the production Compatible replay of standard definition cassettes of the most prestigious movies, commercials and tele- Betacam, Betacam SP, Betacam SX, MPEG IMX and vision programmes. The recent expansion of the Digital Betacam cassettes can be replayed. The HDW- HDCAM product line up has transformed the econom- M2000P/20 is optimised for analogue 625/50 Betacam ics of HD for mainstream television production, with and Betacam SP playback, but can replay 525/60 new models such as the HDW-730S camcorder mak- Betacam and Betacam SP tapes and provide a monit- ing HD acquistion accessible to those working on oring quality output. -
10 Questions-Portable Disk Recorders
10 Questions : Portable Digital Disk Recorders 3/2011 1. Is the codec being captured to post-production friendly? Acquisition is the beginning of the work!ow and decisions made at this point in the process affect all that follows. For the easiest possible post-production work!ow, the footage would be immediately ready for editorial and would not require transcoding or intensive processing to make it ready for editing. The AJA Ki Pro and Ki Pro Mini record to the high quality Apple ProRes 422 codecs to produce full raster 10-bit 4:2:2 HD and SD #les ready for immediate edit. Apple ProRes 422 is supported in all of the Apple Final Cut Studio applications making it an ideal codec for ease of use in post-production. Perhaps most importantly, Apple ProRes codecs have been designed to handle the harsh rigors of Post production through rendering and effects cycles. Comparison 1440 x 1080 1920 x 1080 1280 x 1080 DVCPRO HD@50Hz Uncompressed HDCAM D5 DVCPRO HD@60Hz XDCAM HDCAM-SR HDV ProRes422 @145Mbps 1080 ProRes422 HQ HD @220Mbps 1280/1920 = 2/3 1440/1920 = 3/4 1920/1920 = 1/1 8 bit 8 bit 10 bit 10 Questions : Portable Digital Disk Recorders 3/2011 2. Is the storage module itself computer friendly ? Ki Pro offers removable spinning disk or SSD modules with FireWire 800 support for direct connection to an Apple Mac Pro or MacBook Pro. Ki Pro formats its media as OSX-native HFS+, so that the Storage Module will mount instantly on your Mac desktop as easily as any other Mac-formatted drive would. -
Paramount Theatre Sherry Lansing Theatre Screening Room #5 Marathon Theatre Gower Theatre
PARAMOUNT THEATRE SHERRY LANSING THEATRE SCREENING ROOM #5 MARATHON THEATRE GOWER THEATRE ith rooms that seat from 33 to 516 people, The Studios at Paramount has a screening room to accommodate an intimate screening with your production team, a full premiere gala, or anything in between. We also offer a complete range of projection and audio equipment to handle any feature, including 2K, 4K DLP projection in 2D and 3D, as well as 35mm and 70mm film projection. On top of that, all our theaters are staffed with skilled projectionists and exceptional engineering teams, to give you a perfect presentation every time. 2 PARAMOUNT THEATRE CUTTING-EDGE FEATURES, LAVISH DESIGN, PERFECT FOR PREMIERES FEATURES • VIP Green Room • Multimedia Capabilities • Huge Rotunda Lobby • Performance Stage in front of Screen • Reception Area • Ample Parking and Valet Service SPECIFICATIONS • 4K – Barco DP4K-60L • 2K – Christie CP2230 • 35mm and 70mm Norelco AA II Film Projection • Dolby Surround 7.1 • 16-Channel Mackie Mixer 1604-VLZ4 • Screen: 51’ x 24’ - Stewart White Ultra Matt 150-SP CAPACITY • Seats 516 DIGITAL CINEMA PROJECTION • DCP - Barco Alchemy ICMP • DCP – Doremi DCP-2K4 • XpanD Active 3D System • Barco Passive 3D System • Avid Media Composer • HDCAM SR and D5 • Blu-ray and DVD • 8 Sennheiser Wireless Microphones – Hand-held and Lavalier • 10 Clear-Com Tempest 2400 RF PL • PIX ADDITIONAL SERVICES AVAILABLE • Catering • Event Planning POST PRODUCTION SERVICES 10 • SecurityScreening Rooms 3 SCREENING ROOMS SHERRY LANSING THEATRE THE ULTIMATE REFERENCE -
Delivery Specifications for Commercials and Billboards
DELIVERY SPECIFICATIONS FOR COMMERCIALS AND BILLBOARDS 1. General This document covers the technical requirements for commercials and billboards commissioned in High Definition (HD) which are to be transmitted by the broadcaster. The broadcaster offers the option of electronic delivery by means of transferring computer files via the Internet, further described in section 3. A submission always consists of two files: the file containing image and audio data, and a file containing metadata. Next to this document, the General Terms and Conditions and Sales Restrictions must be accepted by the supplier. If the requirements included in this document are not fulfilled, the broadcaster retains the right to refuse or adapt the received production. 2. Specifications for the computer file The content is packaged in an MXF file containing compressed image and audio data. The file must be delivered in MXF format using ‘Operational Pattern 1a’, which is specified in the following section. 2.1 References A submission must at least comply with the following standards and recommendations: SMPTE 377M-2009 Material Exchange Format (MXF) – File Format Specification. SMPTE 378M-2004 Material Exchange Format (MXF) – Operational pattern 1A. (Single Item, Single Package) SMPTE 379M-2010 Material Exchange Format (MXF) – MXF Generic Container. SMPTE 381M-2005 Material Exchange Format (MXF) – Mapping MPEG Streams into the MXF Generic Container. SMPTE 382M-2007 Material Exchange Format – Mapping AES3 and Broadcast Wave Audio into the MXF Generic Container. ITU-R BT.709-5-2004 Parameter values for the HDTV standards for production and international program exchange. ITU-R BT.1702-2005 Guidance for the reduction of photosensitive epileptic seizures caused by television. -
Professional Disc Drive Unit
5-019-793-11 (1) Professional Disc Drive Unit Operating Instructions Before operating the unit, please read this manual thoroughly and retain it for future reference. PDW-U4 © 2020 Sony Corporation Table of Contents Overview .............................................................. 3 Features .......................................................................... 3 Example of Use............................................................... 3 Recommended Software ............................................... 4 Names and Functions of Parts .............................. 5 Front Panel...................................................................... 5 Rear Panel....................................................................... 6 Preparations......................................................... 7 Installation of the Unit.................................................... 7 Software Installation ...................................................... 7 Connections and Settings .............................................. 7 Power Preparations........................................................ 7 Handling Discs................................................................ 8 Using the Software............................................. 10 Starting and Exiting the Utility Software.......................10 Specifications ..................................................... 10 Open Source Software Licenses ..........................12 2 Overview Features The features of the unit include the following. • Supported -
IF HD IS COMING TOMORROW, WHY DO YOU NEED HDCAM TODAY? HDCAM 1080/60I: JUST LOOK at the FACTS
IF HD IS COMING TOMORROW, WHY DO YOU NEED HDCAM TODAY? HDCAM 1080/60i: JUST LOOK AT THE FACTS. It’s a fact that Sony’s HDCAM® 1080/60i system has This enhanced SDTV programming will increase your established itself as the world’s first proven, practical, revenue today. You’ll have an HD master for additional standardized, and field-tested approach to high defini- revenue tomorrow. You’ll even have built-in legacy play- tion program origination for digital broadcasting. back of your entire BETACAM archive -- including analog It’s a fact that Sony HDCAM camcorders and decks have BETACAM®, BETACAM SP®, BETACAM SX®, DIGITAL BETACAM® been out in the field for nearly five years. Thousands and MPEG IMX™ 1/2" format recordings. have been deployed worldwide. They’ve handled hun- And you’ll have all the tools you need: a complete all- dreds of sophisticated, multi-camera productions -- and Sony system, or select Sony HDCAM components that created uncompromising masters to form the basis of a integrate seamlessly with other systems. valuable digital HD archive for the future. It’s a fact that Sony HDCAM equipment is built on the M OVING AHEAD, OR MISSING HDW-750 industry-leading 1/2" platform, with robust performance and plenty of headroom -- plus the crucially important AN OPPORTUNITY? ability to protect a 15-year legacy of 1/2" BETACAM® Budgets are tight for everyone -- broadcasters, produc- format recordings. ers, corporations, rental houses. Sony understands. So And it’s a fact that now, Sony’s HDCAM 1080/60i your 2nd-generation HDCAM 1080/60i system is specifi- approach is already in its 2nd generation. -
Vcube User Manual
Table of Contents Table of Contents Welcome 1 What's New in VCube 2? 2 VCube Overview 5 How to Update 6 VCube User Interface 7 Tool and Transport Bars 11 Tool Bar 12 Transport Bar 16 Quick Settings for SD and HD Video Formats 19 Quick Settings for SD 21 Quick Settings for HD 23 Control Pages 25 Files 26 VCube Compositions 29 OMF Compositions 32 AAF and Apple XML Compositions 34 Media Files 36 Import Composition and Export Changes 38 Import Layer 39 Convert Still Images 40 Locators 42 View 44 Clips Information 45 Shortcuts 49 Workspace 50 ii Table of Contents Edit 52 Main 53 Clips 54 Layers 56 Tracks 58 Settings 59 Presets 60 Formats & Synchro 62 Video I/O 67 Xena LS Plug-in 68 Xena LH Plug-in 70 Xena 2 Plug-in 72 Overlay 74 Preview 76 Composition 78 Disk & Network Cache Buffers 81 User Interface 82 Isis 83 Encryption 84 Media Settings 90 Timeline 91 Video Engine 92 Output View 93 Script View 95 Recording and Editing 96 Recording 97 Editing 103 Timeline 104 Editing Functions 106 Layer Controls 110 iii Table of Contents Motion Rectangles (PiP) 111 Selections and Groups 114 Watermark and Text 115 Watermark 116 Text Clip 117 Utility Clips 119 Countdown Clip 120 Wipe Clip 122 Video Test Patern Clip 123 Audio Tone Clip 124 Conforming and Reconforming 125 Conversions 134 Export 135 Convert Media Files 136 Render 140 Import Images Sequence 144 Media Wrapper 146 Frame Rate Management 147 Using the QuickTime File Format 148 Using the MXF File Format 150 Using the MPEG Codec 151 Basic Settings 153 Video Settings 154 Advanced Video Settings 157 Audio Settings 164 Multiplexer Settings 167 Synchronization 171 Connections for synchronization 174 iv Table of Contents The USB Sync Board Oprtion 175 USB Sync Board Installation 176 Specific Control Panels 177 Virtual Transport 180 Network 183 VCube Chasing Pyramix through Virtual Transport. -
Standards Quarterly Report March 2021
STANDARDS QUARTERLY REPORT MARCH 2021 Result of SMPTE® Technology Committee Meetings 08-11 March 2021 Copyright © 2020 by the Society of Motion Picture and Television Engineers ®, Inc. (SMPTE ®) - All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, with the express written permission of the publisher. Society of Media Professionals, Technologists and Engineers ® 445 Hamilton Avenue White Plains, NY 10601 USA www.smpte.org SMPTE® Standards Quarterly Report Executive Summary SMPTE Standards Committee Meetings 8-11 March 2021 Host: Online Meeting This Executive Summary lists the new projects this quarter and gives a high-level view of project developments. More information on the status of the 150 active projects can be found in the detailed account, after this summary. Nine SMPTE Technology Committees (TCs) and no subgroups scheduled meetings at this round (the subgroups normally meet by telecon, so their normal cadence was able to continue through the meeting week). 120 members attended by remote access over the four days. Documents published in the last quarter from the work of each TC are listed on this page. New Projects that Began in the Last Quarter TC Type Project (links to online project Approval Date (links statement; these may not be publicly to this report) available yet) File Formats and Revision ST 2094-2 KLV Encoding and MXF Not known Systems Mapping File Formats and New Standard ST 2127-1 Mapping NGA Signals into Not Known Systems the -
Color Handout
Caring for Audiovisual Material: Webinar 10/23/13 3 Videotape and Optical Media Identification and Preservation Webinar October 23, 2013 Linda Tadic Audiovisual Archive Network [email protected] 1 What Will be Covered Physical properties of media Preservation issues Formats and identification 2 Heritage Preservation: Caring for Yesterday's Treasures--Today 1 Caring for Audiovisual Material: Webinar 10/23/13 3 What Will Not be Covered Digitization (that’s the webinar on October 30) Cataloging and metadata 3 Additional Resources Bibliography of web-based readings Archival video preservation labs vendor list (USA) List of current video formats 4 Heritage Preservation: Caring for Yesterday's Treasures--Today 2 Caring for Audiovisual Material: Webinar 10/23/13 3 VIDEO 5 Videotape in Brief If it has sprockets, it’s film – not video. 6 Heritage Preservation: Caring for Yesterday's Treasures--Today 3 Caring for Audiovisual Material: Webinar 10/23/13 3 Videotape in Brief Like audiotape, videotape is magnetic media. Video can come in reel or cassette form – like audiotape. It can carry both analog and digital signals – like audiotape. 7 Primary Concerns Multitude of formats (identification can be difficult) Format obsolescence Short Life Expectancy (LE) Environmental, organic, and human factors contributing to signal degradation 8 Heritage Preservation: Caring for Yesterday's Treasures--Today 4 Caring for Audiovisual Material: Webinar 10/23/13 3 How Videotape Started Thank Bing Crosby. First funded development of audiotape. In 1950 gave $50,000 to a start-up called Ampex to develop magnetic videotape. 9 How Videotape Started Original market/users: broadcasting Like other time-based media, formats for the consumer market quickly followed. -
69 IASA RESEARCH GRANT REPORT: a STUDY on the CHANGING PRICES of AUDIOVISUAL DIGITIZATION, 2006–2015 Rebecca Chandler, Avpres
ARTICLE IASA RESEARCH GRANT REPORT: A STUDY ON THE CHANGING PRICES OF AUDIOVISUAL DIGITIZATION, 2006–2015 Rebecca Chandler, AVPreserve, USA Introduction Over the past five years in the United States and Europe there has been a decisive decline in the cost of digitization, resulting in historically low prices. This has been due to a variety of rea- sons, ranging from innovation to marketplace competition. With a shortening window of time in which to act, this economic advantage has been a boon to organizations with holdings of legacy audiovisual media. This is widely recognized and discussed among managers and budget holders within organizations. However, what has not been evaluated effectively is whether or not we are currently in a digitization market bubble. We hypothesize that obsolescence, degradation, and market factors will begin to place the cost of digitization back on an upward trajectory. What we do not know is how the curve will look. Our experience indicates that organizations are unwilling to believe that prices will increase at the same rate that they decreased, or that they will ever again reach even 50% of what they were just five years ago. However, these discussions are often emotionally-driven and take place without a well-laid foundation of data from which to judge. With the support of an IASA Research Grant, we set out to design a project that would begin to amass a shared and computable dataset that can help us ask questions and provide projections about our hypothesis. The goal of this project is to quantify and chart in detail the historical pricing trends for digitization over the past 10–15 years. -
20130218 Technical White Paper.Bw.Jp
Sending, Storing & Sharing Video With latakoo © Copyright latakoo. All rights reserved. Revised 11/12/2012 Table of contents Table of contents ................................................................................................... 1 1. Introduction ...................................................................................................... 2 2. Sending video & files with latakoo ...................................................................... 3 2.1 The latakoo app ............................................................................................ 3 2.2 Compression & upload ................................................................................. 3 2.3 latakoo minutes ............................................................................................ 4 3. The latakoo web interface .................................................................................. 4 3.1 Web interface requirements .......................................................................... 4 3.2 Logging into the dashboard .......................................................................... 4 3.3 Streaming video previews ............................................................................. 4 3.4 Downloading video ...................................................................................... 5 3.5 latakoo Pilot ................................................................................................. 5 3.6 Search and tagging ...................................................................................... -
XDCAM EX Family XDCAM EX Camcorder PMW-350 PMW-EX3 PMW-EX1R
XDCAM EX Family XDCAM EX Camcorder PMW-350 PMW-EX3 PMW-EX1R XDCAM EX Recording Deck PMW-EX30 XDCAM EX Series – Comprehensive Line-up Opens New Horizons of Visual Expression, Delivers New Levels of Convenience Since 2007 and the introduction of the first camcorder in this line-up, the SONY XDCAM EX™ Series has achieved wide acclaim among creative professionals, and now grows from strength to strength, opening up new horizons of visual expression and delivering new levels of convenience. The series already includes two outstanding camcorders – the PMW-EX1 and PMW-EX3 – which realize full-HD pictures of amazingly high quality by adopting three 1/2-inch-type “Exmor™” full-HD CMOS sensors in a compact body. An advanced workflow, based on “SxS PRO™” memory card as the recording media, ensures effective file-base operation. Now Sony evolves this XDCAM EX line-up with the introduction of two new camcorders. The PMW-350 is the first and long-awaited shoulder camcorder in the family. It comes equipped with the cutting-edge imaging technology of three 2/3-inch-type “Exmor” full-HD CMOS sensors, and it uses SxS memory card as the recording media. The other new camcorder is the PMW-EX1R, the direct successor of the PMW-EX1. It includes as standard an SD recording and playback function, as well as numerous improvements over the PMW-EX1. Both new camcorders support not just SxS PRO memory card but also more affordable “SxS-1™” media. There is also an innovative on-site backup solution with PXU-MS240 – enhancements which improve workflow and expand user convenience.