DOCSLIB.ORG

Apple Prores White Paper January 2020 Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Apple Prores White Paper January 2020 Contents Apple ProRes White Paper January 2020 Contents Introduction 3 Authorized Apple ProRes Implementations 4 Apple ProRes Family Overview 5 Properties of Digital Images 8 Frame Size (Full-Width Versus Partial-Width) 8 Chroma Sampling 9 Sample Bit Depth 10 Properties of Apple ProRes Codecs 11 Data Rate 12 Quality 15 Performance 18 Alpha Channel Support in Apple ProRes 4444 Codecs 22 Appendix 23 Target Data Rates 23 Glossary 26 Apple ProRes January 2020 2 Introduction Apple ProRes is one of the most popular codecs in professional post-production. The ProRes family of video codecs has made it both possible and affordable to edit full-frame, 10-bit, 4:2:2 and 4:4:4:4 high-definition (HD), 2K, 4K, 5K, and larger video sources with multistream performance in Final Cut Pro X. This white paper provides in-depth information about the ProRes family of codecs, including technical specifications and performance metrics. For information about Apple ProRes RAW, which brings to raw video the same great performance, quality, and ease of use that ProRes has brought to conventional video, see the Apple ProRes RAW White Paper. Apple ProRes January 2020 3 Authorized Apple ProRes Implementations Apple ProRes is a codec technology developed for high-quality, high-performance editing in Final Cut Pro X. Apple has licensed ProRes to select companies for use in specific products and workflows. In some instances, unauthorized codec implementations have been used in third-party software and hardware products. Using any unauthorized implementation (like the FFmpeg and derivative implementations) may lead to decoding errors, performance degradation, incompatibility, and instability. For a list of all authorized ProRes licensees and developers, and for licensing information, go to support.apple.com/kb/HT5959. If you’re using or considering purchasing a product that encodes or decodes ProRes, and that product is not on this list, contact Apple at [email protected]. Apple ProRes January 2020 4 Apple ProRes Family Overview Apple ProRes codecs provide an unparalleled combination of multistream, real-time editing performance, impressive image quality, and reduced storage rates. ProRes codecs take full advantage of multicore processing and feature fast, reduced-resolution decoding modes. All ProRes codecs support any frame size (including SD, HD, 2K, 4K, 5K, and larger) at full resolution. The data rates vary based on codec type, image content, frame size, and frame rate. As a variable bit rate (VBR) codec technology, ProRes uses fewer bits on simple frames that would not benefit from encoding at a higher data rate. All ProRes codecs are frame-independent (or “intra-frame”) codecs, meaning that each frame is encoded and decoded independently of any other frame. This technique provides the greatest editing performance and flexibility. A variety of cameras can now capture and record a wider gamut of color values when working in log or raw formats. You can preserve a wider color gamut by recording with the ProRes LOG setting on certain cameras such as the ARRI ALEXA or transcoding from the RED® camera’s REDCODE® RAW format. Final Cut Pro 10.3 or later can process color in wide color gamut and output ProRes files in the Rec. 2020, DCI-P3, or D65-P3 color space. This results in deeper colors and more detail, with richer red and green areas of the image. With Final Cut Pro 10.3 or later, you can also export ProRes files inside an MXF metadata wrapper instead of exporting .mov files. This makes the exported video file compatible with a wide range of playback systems that rely on the MXF standard for broadcast and archiving. Apple ProRes January 2020 5 Apple ProRes Family Overview Apple ProRes includes the following formats: Apple ProRes 4444 XQ: The highest-quality version of ProRes for 4:4:4:4 image sources (including alpha channels), with a very high data rate to preserve the detail in high-dynamic-range imagery generated by today’s highest-quality digital image sensors. Apple ProRes 4444 XQ preserves dynamic ranges several times greater than the dynamic range of Rec. 709 imagery—even against the rigors of extreme visual effects processing, in which tone-scale blacks or highlights are stretched significantly. Like standard Apple ProRes 4444, this codec supports up to 12 bits per image channel and up to 16 bits for the alpha channel. Apple ProRes 4444 XQ features a target data rate of approximately 500 Mbps for 4:4:4 sources at 1920 x 1080 and 29.97 fps. Note: Apple ProRes 4444 XQ requires OS X 10.8 Mountain Lion or later. Apple ProRes 4444: An extremely high-quality version of ProRes for 4:4:4:4 image sources (including alpha channels). This codec features full-resolution, mastering-quality 4:4:4:4 RGBA color and visual fidelity that is perceptually indistinguishable from the original material. Apple ProRes 4444 is a high-quality solution for storing and exchanging motion graphics and composites, with excellent multigeneration performance and a mathematically lossless alpha channel up to 16 bits. This codec features a remarkably low data rate compared to uncompressed 4:4:4 HD, with a target data rate of approximately 330 Mbps for 4:4:4 sources at 1920 x 1080 and 29.97 fps. It also offers direct encoding of, and decoding to, both RGB and Y’CBCR pixel formats. Apple ProRes 422 HQ: A higher-data-rate version of Apple ProRes 422 that preserves visual quality at the same high level as Apple ProRes 4444, but for 4:2:2 image sources. With widespread adoption across the video post-production industry, Apple ProRes 422 HQ offers visually lossless preservation of the highest-quality professional HD video that a single- link HD-SDI signal can carry. This codec supports full-width, 4:2:2 video sources at 10-bit pixel depths, while remaining visually lossless through many generations of decoding and re-encoding. The target data rate of Apple ProRes 422 HQ is approximately 220 Mbps at 1920 x 1080 and 29.97 fps. Apple ProRes 422: A high-quality compressed codec offering nearly all the benefits of Apple ProRes 422 HQ, but at 66 percent of the data rate for even better multistream, real-time editing performance. The target data rate of Apple ProRes 422 is approximately 147 Mbps at 1920 x 1080 and 29.97 fps. Apple ProRes January 2020 6 Apple ProRes Family Overview Apple ProRes 422 LT: A more highly compressed codec than Apple ProRes 422, with roughly 70 percent of the data rate and 30 percent smaller file sizes. This codec is perfect for environments where storage capacity and data rate are at a premium. The target data rate of Apple ProRes 422 LT is approximately 102 Mbps at 1920 x 1080 and 29.97 fps. Apple ProRes 422 Proxy: An even more highly compressed codec than Apple ProRes 422 LT, intended for use in offline workflows that require low data rates but full-resolution video. The target data rate of Apple ProRes 422 Proxy is approximately 45 Mbps at 1920 x 1080 and 29.97 fps. Note: Apple ProRes 4444 XQ and Apple ProRes 4444 are ideal for the exchange of motion graphics media because they are virtually lossless, and are the only ProRes codecs that support alpha channels. Apple ProRes January 2020 7 Properties of Digital Images The technical properties of digital images correspond to different aspects of image quality. For example, high-resolution HD images can carry more detail than their lower-resolution SD counterparts. 10-bit images can carry finer gradations of color, thereby avoiding the banding artifacts that can occur in 8-bit images. The role of a codec is to preserve image quality as much as possible at a particular reduced data rate, while delivering the fastest encoding and decoding speed. The Apple ProRes family supports the three key properties of digital images that contribute to image quality—frame size, chroma sampling, and sample bit depth—while offering industry- leading performance and quality at each supported data rate. In order to appreciate the benefits of the ProRes family as a whole and to choose which family members to use in various post-production workflows, it is important to understand these three properties. Frame Size (Full-Width Versus Partial-Width) Many video camcorders encode and store video frames at less than the full HD widths of 1920 pixels or 1280 pixels, for 1080-line or 720-line HD formats, respectively. When such formats are displayed, they are upsampled horizontally to full HD widths, but they cannot carry the amount of detail possible with full-width HD formats. All ProRes family members can encode full-width HD video sources (sometimes called “full-raster” video sources) to preserve the maximum possible detail an HD signal can carry. ProRes codecs can also encode partial-width HD sources if desired, thereby averting potential quality and performance degradation that results from upscaling partial-width formats prior to encoding. Apple ProRes January 2020 8 Properties of Digital Images Chroma Sampling Color images require three channels of information. In computer graphics, a pixel’s color is typically defined by R, G, and B values. In traditional digital video, a pixel is represented by Y’, CB, and CR values, where Y’ is the “luma” or grayscale value and CB and CR contain the “chroma” or color-difference information. Because the eye is less sensitive to fine chroma detail, it is possible to average together and encode fewer CB and CR samples with little visible quality loss for casual viewing. This technique, known as chroma subsampling, has been used widely to reduce the data rate of video signals.
Load more

Recommended publications
  • Switch 4.5.6 Release Notes
    Switch 4.5.6 Release Notes Switch™ Telestream® Switch is an award-winning cross platform media player, inspector, and correction tool for professionals. Switch comes in three versions: Switch Player ($9.99), Switch Plus ($199), and Switch Pro ($499). Switch Player is a robust multi-format media player with deep inspection capabilities. The media player supports high-quality playback for Windows Media, MXF, GXF, MPS, MTS, MOV, MP4, LXF and more. The inspector displays media properties including audio channels, aspect ratio, bitrate, encoding formats and more. In Switch Player, export is only supported when converting Windows Media content to H264 in the MP4 container. Exports using other combinations of source and output formats are watermarked or limited to 30 seconds/half the duration of the media file. Switch Plus is perfect for video editors and post-production professionals. Plus adds support for embedded caption playback and subtitle files; professional audio meters; export to MP4, QuickTime MOV, MXF (OP-1a and OP-Atom), and MPEG-2 Program Streams and Transport Streams; publish to Vimeo, YouTube and Facebook; as well as additional playback support for HEVC, DNxHD, DNxHR, JPEG-2000, and AC-3 audio. Switch Pro is designed for Broadcast and Media QC analysis professionals. Pro extends the professional Audio Meters (included in Plus) to include a loudness panel with options to calculate loudness gated (BS1770-3) or un-gated (BS1770-2); as well as deeper inspection of application specific metadata (e.g., AS-11 with DPP metadata). Switch Pro also includes visual representation of the video’s GOP structure; an interlacing option to display fields, and a Compare Alternate Media feature to easily check multiple adaptive bitrate files in ABR workflows for easy comparison of multi-format media.
    [Show full text]
  • MPEG Video in Software: Representation, Transmission, and Playback
    High Speed Networking and Multimedia Computing, IS&T/SPIE Symp. on Elec. Imaging Sci. & Tech., San Jose, CA, February 1994. MPEG Video in Software: Representation, Transmission, and Playback Lawrence A. Rowe, Ketan D. Patel, Brian C Smith, and Kim Liu Computer Science Division - EECS University of California Berkeley, CA 94720 ([email protected]) Abstract A software decoder for MPEG-1 video was integrated into a continuous media playback system that supports synchronized playing of audio and video data stored on a file server. The MPEG-1 video playback system supports forward and backward play at variable speeds and random positioning. Sending and receiving side heuristics are described that adapt to frame drops due to network load and the available decoding capacity of the client workstation. A series of experiments show that the playback system adds a small overhead to the stand alone software decoder and that playback is smooth when all frames or very few frames can be decoded. Between these extremes, the system behaves reasonably but can still be improved. 1.0 Introduction As processor speed increases, real-time software decoding of compressed video is possible. We developed a portable software MPEG-1 video decoder that can play small-sized videos (e.g., 160 x 120) in real-time and medium-sized videos within a factor of two of real-time on current workstations [1]. We also developed a system to deliver and play synchronized continuous media streams (e.g., audio, video, images, animation, etc.) on a network [2].Initially, this system supported 8kHz 8-bit audio and hardware-assisted motion JPEG compressed video streams.
    [Show full text]
  • 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.
    [Show full text]
  • JPEG Image Compression
    JPEG Image Compression JPEG is the standard lossy image compression Based on Discrete Cosine Transform (DCT) Comes from the Joint Photographic Experts Group Formed in1986 and issued format in 1992 Consider an image of 73,242 pixels with 24 bit color Requires 219,726 bytes Image Quality Size Rati o Highest 81,447 2.7: Extremely minor Q=100 1 artifacts High 14,679 15:1 Initial signs of Quality subimage Q=50 artifacts Medium 9,407 23:1 Stronger Q artifacts; loss of high frequency information Low 4,787 46:1 Severe high frequency loss leads to obvious artifacts on subimage boundaries ("macroblocking ") Lowest 1,523 144: Extreme loss of 1 color and detail; the leaves are nearly unrecognizable JPEG How it works Begin with a color translation RGB goes to Y′CBCR Luma and two Chroma colors Y is brightness CB is B-Y CR is R-Y Downsample or Chroma Subsampling Chroma data resolutions reduced by 2 or 3 Eye is less sensitive to fine color details than to brightness Block splitting Each channel broken into 8x8 blocks no subsampling Or 16x8 most common at medium compression Or 16x16 Must fill in remaining areas of incomplete blocks This gives the values DCT - centering Center the data about 0 Range is now -128 to 127 Middle is zero Discrete cosine transform formula Apply as 2D DCT using the formula Creates a new matrix Top left (largest) is the DC coefficient constant component Gives basic hue for the block Remaining 63 are AC coefficients Discrete cosine transform The DCT transforms an 8×8 block of input values to a linear combination of these 64 patterns.
    [Show full text]
  • How to Downgrade Macos Catalina (10.15) to Macos Mojave (10.14) on a Mac Mini (2018)
    ToolsOnAir Hardware Tech Note How to downgrade macOS Catalina (10.15) to macOS Mojave (10.14) on a Mac mini (2018). Tech Note: 20200518 - Release Date: 18/05/20 Preamble: This Tech Note, provided as is, describes the procedure to downgrade a qualified Mac mini running macOS Catalina (10.15.x) to macOS Mojave (10.14) and will guide you through the process in few easy steps, so that you can start using our playout solutions on newer hardware from Apple that comes with macOS Catalina preinstalled. Related Playout Solutions: • just:play v.2.5 - 2.7 • just:live v.2.5 - 2.7 • composition:builder v.4.0 Specific Apple hardware discussed in this Tech Note: • Mac mini 2018 (Macmini8,1) STEP 1: How to download the official macOS Mojave installer Download an official macOS Mojave (10.14) from Apple’s support site by following this link: https://itunes.apple.com/de/app/macos-mojave/id1398502828?ls=1&mt=12 ClicK on “Get” to initiate the download process. The “Software Update” panel from the macOS “System Preferences” will open showing the latest version of macOS Mojave. Confirm that you want to download the software by clicking on “Download”. The download might taKe some time depending on your internet connection. Once the download is completed, quit the macOS Mojave installer (“Applications” folder) and proceed to the next step. Information contained in this document is provided without liability for information purposes only and is subject to change without notice. © 2020 ToolsOnAir - Broadcast Engineering GmbH. All trademarks and registered trademarks are the property of their respective owners.
    [Show full text]
  • COLOR SPACE MODELS for VIDEO and CHROMA SUBSAMPLING
    COLOR SPACE MODELS for VIDEO and CHROMA SUBSAMPLING Color space A color model is an abstract mathematical model describing the way colors can be represented as tuples of numbers, typically as three or four values or color components (e.g. RGB and CMYK are color models). However, a color model with no associated mapping function to an absolute color space is a more or less arbitrary color system with little connection to the requirements of any given application. Adding a certain mapping function between the color model and a certain reference color space results in a definite "footprint" within the reference color space. This "footprint" is known as a gamut, and, in combination with the color model, defines a new color space. For example, Adobe RGB and sRGB are two different absolute color spaces, both based on the RGB model. In the most generic sense of the definition above, color spaces can be defined without the use of a color model. These spaces, such as Pantone, are in effect a given set of names or numbers which are defined by the existence of a corresponding set of physical color swatches. This article focuses on the mathematical model concept. Understanding the concept Most people have heard that a wide range of colors can be created by the primary colors red, blue, and yellow, if working with paints. Those colors then define a color space. We can specify the amount of red color as the X axis, the amount of blue as the Y axis, and the amount of yellow as the Z axis, giving us a three-dimensional space, wherein every possible color has a unique position.
    [Show full text]
  • Avid Supported Video File Formats
    Avid Supported Video File Formats 04.07.2021 Page 1 Avid Supported Video File Formats 4/7/2021 Table of Contents Common Industry Formats ............................................................................................................................................................................................................................................................................................................................................................................................... 4 Application & Device-Generated Formats .................................................................................................................................................................................................................................................................................................................................................................. 8 Stereoscopic 3D Video Formats ...................................................................................................................................................................................................................................................................................................................................................................................... 11 Quick Lookup of Common File Formats ARRI..............................................................................................................................................................................................................................................................................................................................................................4
    [Show full text]
  • Digital Speech Processing— Lecture 17
    Digital Speech Processing— Lecture 17 Speech Coding Methods Based on Speech Models 1 Waveform Coding versus Block Processing • Waveform coding – sample-by-sample matching of waveforms – coding quality measured using SNR • Source modeling (block processing) – block processing of signal => vector of outputs every block – overlapped blocks Block 1 Block 2 Block 3 2 Model-Based Speech Coding • we’ve carried waveform coding based on optimizing and maximizing SNR about as far as possible – achieved bit rate reductions on the order of 4:1 (i.e., from 128 Kbps PCM to 32 Kbps ADPCM) at the same time achieving toll quality SNR for telephone-bandwidth speech • to lower bit rate further without reducing speech quality, we need to exploit features of the speech production model, including: – source modeling – spectrum modeling – use of codebook methods for coding efficiency • we also need a new way of comparing performance of different waveform and model-based coding methods – an objective measure, like SNR, isn’t an appropriate measure for model- based coders since they operate on blocks of speech and don’t follow the waveform on a sample-by-sample basis – new subjective measures need to be used that measure user-perceived quality, intelligibility, and robustness to multiple factors 3 Topics Covered in this Lecture • Enhancements for ADPCM Coders – pitch prediction – noise shaping • Analysis-by-Synthesis Speech Coders – multipulse linear prediction coder (MPLPC) – code-excited linear prediction (CELP) • Open-Loop Speech Coders – two-state excitation
    [Show full text]
  • Exporting Quicktime Files from Final Cut Pro
    Exporting Quicktime files from Final Cut Pro This is the only supported method for getting video out of Final Cut Pro as Quicktime files in the Digital Studio. Other approaches or settings may work, but require testing first. Exporting material from Apple ProRes 422 files is slow, plan ahead and test early if you are planning to run down to the last minute when finishing a project. Before starting the export process, be sure to save your Final Cut Pro project and ensure no extra material is on the timeline. Typing Shift-Z while the timeline is active will zoom to show all media. If you have extra clips after the end of your video, you must either set an out point on the timeline at the desired end of the video or delete the extraneous clips. Failure to do so will result in a longer video (and export process) than expected. Make sure the Timeline is the active window in Final Cut Pro by clicking in it. File > Send To > Compressor... In the Settings Window, find the setting at Apple > Formats > QuickTime > QuickTIme H.264 and drag it to the export entry in the Batch/Untitled window. This applies the proper file format to your export. The default export location is locked on DIgital Studio computers due to user account access and must be changed before exporting your video is possible. To do that, click once on the entry in the Batch/Untitled window, then select Target > Destination > Other and point the export location to your external hard drive and click “Open” Click “Submit” in the Batch/Untitled window, and again in the dialog that opens up.
    [Show full text]
  • Final Cut Express 2 Edit Like a Pro
    Final Cut Express 2 Edit like a pro. Key Features The powerful, affordable DV editor Final Cut Express 2 is a robust and cost-effective editing solution for digital video Capture video. Connect a FireWire-equipped enthusiasts. Based on Apple’s award-winning Final Cut Pro 4 professional video editing DV camcorder to your Mac and capture video software, Final Cut Express 2 delivers incredible real-time performance and advanced directly to the Browser window. Then organize and manage your clips with ease. editing features tailored to meet the needs of home, education, and creative business videographers. For flexible, full-featured DV editing, Final Cut Express 2 is the perfect Customize the interface. Change window combination of power, ease of use, and affordability. and track layouts, add interface buttons, and reorganize Browser columns to make your Approachable editing flow more easily. Final Cut Express 2 was designed to provide a simple, straightforward workflow. Just plug your FireWire-equipped DV camcorder or deck into your Macintosh and use Make professional edits. Use editing tech- the Capture window to capture your footage. The Browser and hierarchical clip bins niques like slip, slide, ripple, roll, and split to help you organize, search, and sort your clips. make edits without altering your source video. Improved trimming tools and a new Trim Edit The Final Cut Express interface provides multiple ways of performing actions so you window make your edits smoother. can work the way you like. Start a project by dragging clips into the Timeline or the Canvas window, then arrange and edit them together with a number of intuitive tools.
    [Show full text]
  • Audio Coding for Digital Broadcasting
    Recommendation ITU-R BS.1196-7 (01/2019) Audio coding for digital broadcasting BS Series Broadcasting service (sound) ii Rec. ITU-R BS.1196-7 Foreword The role of the Radiocommunication Sector is to ensure the rational, equitable, efficient and economical use of the radio- frequency spectrum by all radiocommunication services, including satellite services, and carry out studies without limit of frequency range on the basis of which Recommendations are adopted. The regulatory and policy functions of the Radiocommunication Sector are performed by World and Regional Radiocommunication Conferences and Radiocommunication Assemblies supported by Study Groups. Policy on Intellectual Property Right (IPR) ITU-R policy on IPR is described in the Common Patent Policy for ITU-T/ITU-R/ISO/IEC referenced in Resolution ITU-R 1. Forms to be used for the submission of patent statements and licensing declarations by patent holders are available from http://www.itu.int/ITU-R/go/patents/en where the Guidelines for Implementation of the Common Patent Policy for ITU-T/ITU-R/ISO/IEC and the ITU-R patent information database can also be found. Series of ITU-R Recommendations (Also available online at http://www.itu.int/publ/R-REC/en) Series Title BO Satellite delivery BR Recording for production, archival and play-out; film for television BS Broadcasting service (sound) BT Broadcasting service (television) F Fixed service M Mobile, radiodetermination, amateur and related satellite services P Radiowave propagation RA Radio astronomy RS Remote sensing systems S Fixed-satellite service SA Space applications and meteorology SF Frequency sharing and coordination between fixed-satellite and fixed service systems SM Spectrum management SNG Satellite news gathering TF Time signals and frequency standards emissions V Vocabulary and related subjects Note: This ITU-R Recommendation was approved in English under the procedure detailed in Resolution ITU-R 1.
    [Show full text]
  • Shop Fullcompass.Com Today! for Expert Advice - Call: 800-356-5844 M-F: 9:00-5:30 Central 412 VIDEO PLAYERS / RECORDERS
    DVD / BLU-RAY PLAYERS AND RECORDERS DVD / BLU-RAYVIDEO PLAY PLAYERSE RASND / RECORDERS 411 NEW! ATOMOS ATOMOS NINJA STAR POCKET- SIZE APPLE PRORES RECORDER AND TASCAM DV-D01U RACKMOUNTABLE SINGLE DISC DVD PLAYER DECK Designed for action cameras, drones The DV-D01U is a rackmountable single-disc player with a powered loading tray. and mirrorless DSLR’s, this pocket-size Apple The player reads DVD video, DVD audio (2-channel only), video CD, CD-DA, MP3, ProRes recorder delivers better quality (no MPEG compression) and huge WMA, .WAV, JPEG, ASF, MPEG-2/MPEG-1, and DivX. It is capable of playing back workflow timesavings. Ultra-long battery life with tiny size and weight make this properly finalized DVD +R/+RW discs. Outputs consist of HDMI audio/video unit ideal for situations requiring portability, reliability and long power draws. out and composite, S-Video, and component video outputs. Rear panel stereo Captures video in select HD/SD recording formats via HDMI, with 2-channel audio outputs are unbalanced (RCA) and digital outputs are optical. Digital outputs can from camera and/or analog input. Edit-ready media files are recorded directly to pass Dolby Digital and DTS surround streams for later decoding. The DV-D01U CFast 1.0 memory card. Standard mounting plate included. provides extensive bi-directional RS232 serial control and an I/R remote control ITEM DESCRIPTION PRICE is included. ATO-NINJA-STAR........ Pocket-Size ProRes Recorder & Deck ........................................... 295.00 ITEM DESCRIPTION PRICE ATO-MCFT064 ........... 64GB CFast Memory Card ........................................................... 159.00 DVD01U ..................... Rackmountable DVD player, 1RU ................................................ 369.99 ATO-MCFT128 ..........
    [Show full text]