Wacom | SD-311E | #13a Computer Video (1022-1143)_Layout 1

#13a Computer Video (1022-1143)_Layout 1
Section13a
The
SourceBook
ProfessionalVideo
COMPUTER VIDEO
12 Inch Design ............................1024-1027
Adobe ...........................................1028-1043
AJA ................................................1044-1063
Apple.............................................1064-1079
Avid ...............................................1080-1083
Automatic Duck..........................1084-1085
BlackMagic Design ....................1086-1099
Boris FX .........................................1100-1109
Cineform ........................................1110-1111
DigiEffects .....................................1112-1113
Contour Design......................................1114
Grass Valley ...................................1115-1119
Intel ..........................................................1120
JL Cooper ......................................1122-1123
Matrox ...........................................1124-1127
MOTU .............................................1128-1129
Newtek ..........................................1130-1133
Red Giant ......................................1134-1139
Sony ...............................................1140-1143
Sorenson .................................................1144
Tiffen ........................................................1145
Obtaining information and ordering from B&H is quick and
easy. When you call us, just punch in the corresponding
Quick Dial number anytime during our welcome message.
The Quick Dial code then directs you to the specific
professional sales associates in our order department.
For Section 13a, Computer Video
use Quick Dial #: 831
1024
COMPUTER VIDEO
12 I NC H D E SIGN
PRODUCTIONBLOX
Royalty Free Library of Motion Graphics
ProductionBlox is a royalty free library of motion graphics (animated backgrounds, matching elements and more) for use by any video or post-production professional. Each volume in the library is called a Unit. There are eight
individual Units, and each contains 35 sets of elements: full-screen animated
backgrounds with matching static left, right and lower thirds. The static elements are provided in five variations (clean, blurred, drop shadow, blurred
drop shadow and gradiated transparency), all with alpha channel.
Each set of elements is called a Blox. In addition to 35 Blox, each Unit also
contains 5 CustoMattes and the unique ProductionBlox Catalog System.
CustoMattes are full-screen, general purpose, animated mattes that can be
combined with any other Blox elements to create unique custom animated
elements, such as animated lower thirds. The ProductionBlox Catalog System is a client and facility friendly catalog system
that allows quick and easy previewing of the contents of each Unit. Each Unit also includes a DVD-video catalog viewable
with any DVD player, a web browser based preview and printable catalogs in Word and Acrobat formats.
Available in SD (Standard Definition), HDV and HD formats, each ProductionBlox Unit comes with one single-sided Catalog
Disc and two double-sided Data Discs, in NTSC and PAL formats. All animated elements are provided in QuickTime 6 format.
Static elements come in uncompressed TIFF, TARGA and Photoshop 6 formats.
F EATURES
◆ All standard definition video elements
Sample ProductionBlox
conform to industry standards for resolution,
pixel aspect ratio, luma and chroma values as
set forth by ITU-R BT.601 (720 x 486 30p for
NTSC D1 and 720 x 576 25p for PAL D1).
◆ All HD video elements conform to ATSC
standards for resolution, pixel aspect ratio,
luma and chroma values.
◆ All animated elements are supplied in Quick-
Time 6 format. The video clips are losslessly
compressed using maximum quality PNG
compression.
◆ NTSC material is 720 x 486 30p with a 4:3
aspect ratio. PAL material is 720 x 576 25p
with a 4:3 aspect ratio.
◆ HDV material is 1440 x 1080 with a 16:9
aspect ratio.
◆ HD material is 1920 x 1080 with a 16:9
aspect ratio.
◆ All animated backgrounds are provided in
24-bit RGB color.
◆ CustoMattes and other matte/alpha objects
include an 8-bit grayscale alpha channel.
◆ All static thirds are provided as 32-bit files -
24 bit color and an 8-bit alpha channel.
What makes 12 INCH Design’s royalty free video backgrounds collections different?
Their video backgrounds are created by designers with real-world, professional video experience
working with professional video editors and producers. They work with the biggest names in the
business and chances are that you’ve seen their designers’ work on network television shows and
commercials. They know what works, what’s cool, and what gives a video a professional look.
They also know that production budgets are tight, so they give you more for less money!
All video backgrounds and animated lower thirds are provided in a lossless PNG format which
means virtually no compression. You get the same video backgrounds in the HD units that you get
in the SD units, albeit rendered in jaw-dropping HD 1920 x 1080 resolution! The same goes for HDV
video backgrounds collections which are rendered at 1440 x 1080 resolution. All HD and HDV video
backgrounds collections come on multiple DVD-ROMs.
www.bhphotovideo.com
COMPUTER VIDEO
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THEMEBLOX
ProductionBlox SD (Standard Definition) NTSC/PAL
ProductionBlox SD Unit 01-08 (Mfr # COMBO-PRO8-NTSC • B&H #12PBCS) ..........................................................................................................................................................179.95
ProductionBlox SD Unit 01 (Mfr # 01PRO-NTSC • B&H #12PB1) ..................................................................................................................................................................................99.00
ProductionBlox SD Unit 02 (Mfr # 02PRO-NTSC • B&H #12PB2) .................................................................................................................................................................................99.00
ProductionBlox SD Unit 03 (Mfr # 03PRO-NTSC • B&H #12PB3) .................................................................................................................................................................................99.00
ProductionBlox SD Unit 04 (Mfr # 04PRO-NTSC • B&H #12PB4) ................................................................................................................................................................................99.00
ProductionBlox SD Unit 05 (Mfr # 05PRO-NTSC • B&H #12PB5) .................................................................................................................................................................................99.00
ProductionBlox SD Unit 06 (Mfr # 06PRO-NTSC • B&H #12PB6) .................................................................................................................................................................................99.00
ProductionBlox SD Unit 07 (Mfr # 07PRO-NTSC • B&H #12PB7) .................................................................................................................................................................................99.00
ProductionBlox SD Unit 08 (Mfr # 08PRO-NTSC • B&H #12PB8) .................................................................................................................................................................................99.00
ProductionBlox HDV (1440 x1080, 29.97p)
ProductionBlox HDV Units 01-08 (Mfr # COMBO-PRO8-HDV • B&H #12PBHDVS18) .............................................................................................................................................249.00
ProductionBlox HDV Unit 01 (Mfr # 01PRO-HDV • B&H #12PBHDV1) ......................................................................................................................................................................124.95
ProductionBlox HDV Unit 02 (Mfr # 02PRO-HDV • B&H #12PBHDV2).....................................................................................................................................................................124.95
ProductionBlox HDV Unit 03 (Mfr # 03PRO-HDV • B&H #12PBHDV3).....................................................................................................................................................................124.95
ProductionBlox HDV Unit 04 (Mfr # 04PRO-HDV • B&H #12PBHDV4).....................................................................................................................................................................124.95
ProductionBlox HDV Unit 05 (Mfr # 05PRO-HDV • B&H #12PBHDV5).....................................................................................................................................................................124.95
ProductionBlox HDV Unit 06 ( Mfr # 06PRO-HDV • B&H #12PBHDV6) ....................................................................................................................................................................124.95
ProductionBlox HDV Unit 07 (Mfr # 07PRO-HDV • B&H #12PBHDV7).....................................................................................................................................................................124.95
ProductionBlox HDV Unit 08 (Mfr # 08PRO-HDV • B&H #12PBHDV8).....................................................................................................................................................................124.95
ProductionBlox HD (1920 x1080, 24p)
ProductionBlox HD Units 01-08 (Mfr # COMBO-PRO8-HD • B&H #12PBHDCS) .....................................................................................................................................................299.00
ProductionBlox HD Unit 01 (Mfr # 01PRO-HD • B&H #12PBHD1) .............................................................................................................................................................................149.00
ProductionBlox HD Unit 02 (Mfr # 02PRO-HD • B&H #12PBHD2) ............................................................................................................................................................................149.00
ProductionBlox HD Unit 03 (Mfr # 03PRO-HD • B&H #12PBHD3) ............................................................................................................................................................................149.00
ProductionBlox HD Unit 04 (Mfr # 04PRO-HD • B&H #12PBHD4) ............................................................................................................................................................................149.00
ProductionBlox HD Unit 05 (Mfr # 05PRO-HD • B&H #12PBHD5) ............................................................................................................................................................................149.00
ProductionBlox HD Unit 06 (Mfr # 06PRO-HD • B&H #12PBHD6) ............................................................................................................................................................................149.00
ProductionBlox HD Unit 07 (Mfr # 07PRO-HD • B&H #12PBHD7) ............................................................................................................................................................................149.00
ProductionBlox HD Unit 08 (Mfr # 08PRO-HD • B&H #12PBHD8) ............................................................................................................................................................................149.00
TIPS
Video backgrounds can be used in many ways, such as video post production, live event production, multimedia-based worship, digital signage, DVD
authoring, and many more. Here are a few ideas:
➤ Video backgrounds are a great backdrop for video inserts. If you have
one or more frames containing video, try adding a subtle moving
background.
➤ Make an animated lower third from a video background. Just combine
any background with the alpha channel (matte) from any of the static
lower thirds included with ProductionBlox. Or use a DVE to move the
background off screen. You can even vertically squash the clip because
all material is progressive scan, so there are no fields to worry about.
➤ If you have a logo or bumper, try dropping a video background behind
it to make it really pop. Moving backgrounds make great animated
backdrops for DVD menus. Just import the clip into your authoring
software to add a very professional look to all your DVD projects.
➤ Add your own elements to the backgrounds. Use the backgrounds as
time-saving building blocks, adding other elements to make them
look unique. This approach is perfect for the customer that wants a
custom look but doesn't have a huge budget to work with.
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1026
COMPUTER VIDEO
12 I NC H D E SIGN
POWERBLOX
Available in NTSC and PAL, PowerBlox is a royalty
free toolkit for editors that includes hundreds of
motion graphics elements and other useful content.
PowerBlox will complement any professional motion
graphics library, such as12 Inch Design’s critically
acclaimed ProductionBlox. They include dozens of
animated transitions, animated earth content,
animated mattes and motion design elements. As
with every12 Inch Design product, all elements are
provided in industry standard QuickTime format.
PowerBlox Unit 01
◆ 20 classy, quick and full screen animated transitions that can be
overlayed on top of any edit between two clips
◆ 20 Animated Displays: Unique 3D rendered objects designed as display
areas for text or other graphic elements. Each one opens, freezes and
closes again. Just add text to create a professional and unique element!
◆ 7 high quality, full screen looping animations of spinning globes.
Includes stylized and realistic Earth renders, and two keyable globes.
◆10 simple, animated and keyable shapes. Use to add accents to any
part of your project. You will find these indispensable!
◆ 10 animated displays with After Effects corner pin tracking data. Load
the project file into AE and track your video clip onto the animated
display. Expensive custom-looking 3D animation at your fingertips.
PowerBlox Unit 01 (Mfr # 01POW-NTSC • B&H #12PB1Q)................................149.00
◆ 65 high quality single frame mattes with alpha channel. You will never
need a new matte again! Combine them with other static elements for
more than 500,000 possible different looks!
◆ 20 Looping animated borders with alpha channel that can easily be
combined with any video footage.
◆ 25 looping grayscale animations (moving textures) rendered at 800 x
600. Great for layering and blending, or using as “Matte To” objects.
◆ 50 DVD menu templates— huge time saver when you need to quickly
deliver a DVD. Includes plug-and-play menus in Adobe Encore, DVD
Studio Pro 2 and MyDVD formats set up and ready to go. Also includes
all of the menus and elements as Photoshop, TIFF, TGA and BMP files, so
they'll work with any DVD authoring software.
PowerBlox Unit 02 (Mfr # 02POW-NTSC • B&H #12PB2Q)..............................149.00
PowerBlox 2 (Mfr # COMBO-POW2-NTSC • B&H #12PBS): Includes -PowerBlox Unit 01 and 02........................................................................................................249.00
PowerBlox Unit 02
◆ 40 stylish animated lower thirds with alpha channel. Each lower third
loops seamlessly.
◆ 20 classy, quick and full screen animated transitions that can be
overlayed on top of any edit between two clips.
◆ 16 elegant looping animated swaths of fabric. Great for adding that
“softer” look to your production. Many can also be used as animated
lower thirds.
◆ Over 40 cool and useful anmations
◆ 12 On and Off lower thirds that animate on and off the screen.
◆ 10 Looping animated grids with alpha channel.
◆ 8 customizable lower third element sets that include a frame and
◆ 14 animated bars and lines. Useful as screen separators, lower thirds, or
matte. Fill each third with any ProductionBlox background or other
video source to create a truly unique lower third.
◆ 10 high quality, full screen looping animations of spinning globes.
Includes stylized and realistic Earth renders. All globes are keyable
(include alpha channel).
◆ 22 keyable miscellaneous multipurpose animated elements, indispen-
sable for all kinds of production.
◆ 22 elegant animated elements that “draw” on to the screen. Also
includes separate looping glint animation.
www.bhphotovideo.com
for anywhere you need to place a line of text.
◆ 18 moving animated mattes that grow on-screen, animate organically
and then disappear. Great for punching a hole in the screen to drop in
other video.
◆ 30 Tech Rings–cool looping elements that add high-tech flair to any
production.
◆ 20 cool high-tech mattes that slide on screen from the side or top. Each
matte also includes a separate matching border. Great for revealing a
second video source or clip.
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THEMEBLOX
A line of themed motion graphics,
ThemeBlox units each include 35 fullscreen looping animated backgrounds
and 25 keyable elements, ensuring that
you will find the one that is right for
your video project. Ideal solution for
producers and editors who need to
quickly add an animated background
to a video but don’t have the resources
or time to create one. Available in SD
(Standard Definition), HDV and HD formats, themes include holidays,
weddings and events, sports, high-tech and medical. Standard Definition NTSC & PAL includes QuickTime.
ThemeBlox SD (Standard Definition) NTSC/PAL
ThemeBlox SD Units 01-07 (Mfr # COMBO-THM7-NTSC • B&H #12TB1T7) ...............................................................................................................................................................199.00
ThemeBlox SD Unit 01– High Tech & Medical (Mfr # 01THM-NTSC • B&H #12TB1) ............................................................................................................................................99.00
ThemeBlox SD Unit 02– Sports (Mfr # 02THM-NTSC • B&H #12TB2) ........................................................................................................................................................................99.00
ThemeBlox SD Unit 03– Weddings & Events (Mfr # 03THM-NTSC • B&H #12TB3) ..............................................................................................................................................99.00
ThemeBlox SD Unit 04– Business & Money (Mfr # 04THM-NTSC • B&H #12TB4) ................................................................................................................................................99.00
ThemeBlox SD Unit 05– Faith & Worship (Mfr # 05THM-NTSC • B&H #12TB5) .....................................................................................................................................................99.00
ThemeBlox SD Unit 06– Patriotic & Elections (Mfr # 06THM-NTSC • B&H #12TB6)............................................................................................................................................99.00
ThemeBlox SD Unit 07– Holidays & Seasons (Mfr # 07THM-NTSC • B&H #12TB7) .............................................................................................................................................99.00
ThemeBlox HDV (1440 x1080, 29.97p)
ThemeBlox HDV Units 01-07 (Mfr # COMBO-THM7-HDV • B&H #12TB1T7HDV) .....................................................................................................................................................249.00
ThemeBlox HDV Unit 01– High Tech & Medical (Mfr # 01THM-HDV • B&H #12TB1HDV) ...............................................................................................................................149.00
ThemeBlox HDV Unit 02– Sports (Mfr # 02THM-HDV • B&H #12TB2HDV) ............................................................................................................................................................149.00
ThemeBlox HDV Unit 03– Weddings & Events (Mfr # 03THM-HDV • B&H #12TB3HDV)..................................................................................................................................149.00
ThemeBlox HDV Unit 04– Business & Money (Mfr # 04THM-HDV • B&H #12TB4HDV) ...................................................................................................................................149.00
ThemeBlox HDV Unit 05– Faith & Worship (Mfr # 05THM-HDV • B&H #12TB5HDV) ........................................................................................................................................149.00
ThemeBlox HDV Unit 06– Patriotic & Elections (Mfr # 06THM-HDV • B&H #12TB6HDV) ...............................................................................................................................149.00
ThemeBlox HDV Unit 07– Holidays & Seasons (Mfr # 07THM-HDV • B&H #12TB7HDV).................................................................................................................................149.00
ThemeBlox HD (1920x1080, 24p)
ThemeBlox HD Units 01-07 (Mfr # COMBO-THM7-HD • B&H #12TBHD1T7) .............................................................................................................................................................299.00
ThemeBlox HD Unit 01– High Tech & Medical (Mfr # 01THM-HD • B&H #12TBHD1) .......................................................................................................................................175.00
ThemeBlox HD Unit 02– Sports (Mfr # 02THM-HD • B&H #12TBHD2) ...................................................................................................................................................................175.00
ThemeBlox HD Unit 03– Weddings & Events (Mfr # 03THM-HD • B&H #12TBHD3) .........................................................................................................................................175.00
ThemeBlox HD Unit 04– Business & Money (Mfr # 04THM-HD • B&H #12TBHD4) ...........................................................................................................................................175.00
ThemeBlox HD Unit 05– Faith & Worship (Mfr # 05THM-HD • B&H #12TBHD5) ................................................................................................................................................175.00
ThemeBlox HD Unit 06– Patriotic & Elections (Mfr # 06THM-HD • B&H #12TBHD6).......................................................................................................................................175.00
ThemeBlox HD Unit 07– Holidays & Seasons (Mfr # 07THM-HD • B&H #12TBHD7) ........................................................................................................................................175.00
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1028
COMPUTER VIDEO
ADO BE
AFTER EFFECTS CS3 PROFESSIONAL
Motion Graphics and Visual Effects
Creation Software
After Effects CS3 Professional brings infinite variety to your creative vision and stunning impact
to your communications. Animate freely using Shape Layers and the Puppet tool; combine
moving imagery with still images, text, and sound; and manipulate your creations with
inexhaustible effects combinations. Work from scratch or jump-start projects quickly with
hundreds of customizable animation presets and templates, and use the Brainstorm feature
to generate animation variations based on parameters you choose.
Intuitive interface lets you accomplish even the most complex tasks fast. Enhanced multicore
and multiprocessor support offers faster rendering. Tight integration with Adobe’s world-class
applications lets you to move easily between After Effects and Photoshop CS3 Extended, Premiere Pro CS3, Illustrator CS3 and
more. When your projects reach review, clients and colleagues can make timecode-specific comments using Adobe Clip Notes,
streamlining the approval process and getting you on to the next job.
Designed for tomorrow, today, flexible tools let you produce professional output for cutting-edge media types, like FLV and
SWF for the web or mobile devices; work with a wide range of file formats from HDV to OpenEXR, H.264, and Camera Raw; and
take advantage of additional animation presets available for download via Adobe Exchange.
F EATURES
32-bit 2D and 3D Compositing and Animation
◆ Start a composition in 8-bit color mode, and
then finalize and output it to 16-bit or 32-bit
color for optimal quality. Produce work that
is film- and HDTV-ready using the range of
colors available in 16- and 32-bit color
modes.
◆ Mix and match 2D and 3D layers in a single
composition in real time using OpenGL
acceleration. OpenGL 2.0 capabilities
include blend modes, 2D motion blur,
common effects, shadows, and transparency.
◆ Export Vanishing Point data from Photoshop
CS3 Extended, and then import the data into
After Effects to automatically build a 3D
composition from the 2D Photoshop image.
◆ Create and animate multiple cameras and
lights. Specify a point of interest, produce
soft shadows, and simulate different types
of lights to add depth.
◆ Create adjustment layers similar to those in
Photoshop to apply effects to any layers that
appear below them.
◆ Quickly arrange multiple layers in time with
the Sequence Layers keyframe assistant, and
arrange layers in space with the Align and
Distribute tools.
◆ See how layers interact in space and
manipulate a composition from multiple
perspectives using multiple views. Use
predefined workspaces or create your own
to contextually streamline your workflow.
◆ Automatically adjust motion blur based on
the speed of the layer to provide high
quality output for fast-moving objects;
high-quality and faster rendering for slow
moving objects.
◆ Project light through a layer to create
colored shadows, stained-glass effects, and
the look of projected slides.
◆ Speed up production by defining a parent-
child relationship between layers so that
the child layer inherits all transformations
applied to the parent.
◆ Produce cool animations from scratch by
creating layers, adding masks, and applying
effects. Or use the included project
templates to quickly create DVD motion
menus, animated backgrounds, and more.
◆ Import 3D camera and null animation data
in the Alias Maya (MA) format, directly from
Maya or from any 3D tracking software that
can export MA files, such as 2d3’s boujou.
www.bhphotovideo.com
Text and Vector Graphics
Creation and Animation
◆ Create text using standard Adobe tools for
typing, editing, and formatting text. Easily
edit text created in Photoshop. Mix and
match fonts and other attributes on a layer.
◆ Animate text along paths, transform or dis-
place words or lines of text over time, set
inter-character blending modes, randomize
the order in which characters animate, blur,
or wiggle your text, and more.
◆ Save animation time by instantly applying
more than 250 professionally designed, fully
editable text animation presets, or create
and save your own. Use Adobe Bridge CS3 to
conveniently preview and apply presets.
◆ Explore new text animation possibilities by
making individual characters in your text—
or phrase—move and rotate in 3D space.
◆ Easily create and animate vector graphics
with new Shape Layers. Add and animate
strokes, fills, gradients, and vector effects.
You can convert text into shapes and
animate them just like any other shape type.
◆ Export animated text as vector-based SWF
files to create innovative, web-friendly
animations.
COMPUTER VIDEO
A D O BE
1029
AFTER EFFECTS CS3 PROFESSIONAL
Superb Color Correction
Extensive Visual Effects
◆ Manage color correction with a variety of
◆ Use a broad selection of included effects to
tools, including Tritone Brightness &
Contrast, Channel Mixer, Color Balance,
Levels, Tint, Hue/Saturation, and more.
change the appearance of footage or
generate entirely new elements. Create
unique looks from scratch or by using more
than 100 customizable effects presets.
◆ Take advantage of Color Finesse from
Synthetic Aperture, a full-featured color
correction environment that contains highend telecine-style correction tools.
◆ Enhance the contrast and tone of footage
over time with Photoshop style Auto Color,
Auto Contrast, and Auto Levels controls.
◆ Automate color correction over time while
preserving the shadows and highlights
within individual frames.
◆ Organize effects the way you like and quickly
access them in the Effects & Presets palette.
Save, apply, and share animation presets with
specific settings and animated properties.
◆ Add smoke and sparks using Particle World,
create blazing ray-of-light transitions using
Light Burst and Light Sweep, and apply more
than 60 other bundled effects from Cycore.
◆ Re-create the effect of a unfocused camera
◆ Adjust the tonal range of an image with
complete control, such as decreasing blues
in the shadows and increasing them in
bright areas. You can import curve settings
from Photoshop as well.
lens with Lens Blur, and use Smart Blur to
create soft color effects without destroying
fine detail. Other blur effects include
Directional Blur, Box Blur, and Gaussian Blur.
◆ Warp and distort full frames—as well as se-
lected areas—in specific, realistic ways with
effects like Mesh Warp, Bezier Warp, and
Displacement Map. Paint distortions directly
onto imagery with Liquify. Distort footage
using Mirror, Ripple, Bulge, and other effects.
◆ Add, remove, or match grain artifacts from
footage automatically or manually. Specify
the characteristics of grain on all three individual color channels for a perfect match.
The pins on the arms and legs control the figure;
currently selected pins appear as solid circles, deselected
pins hollow. Simply by dragging the pins at the knees,
hand and head, a highly stylized effect can be achieved
(although subtler animations are possible too). Pins that
aren’t repositioned hold surrounding areas in place.
◆ Control which parts of a 2D or 3D layer are
◆ Snap keyframes to interesting points as you
drag them horizontally or vertically around
the Graph Editor.
◆ Freely zoom and pan around the Graph
Editor with the Zoom tool, Hand tool, or your
mouse scroll wheel, using modifier keys for
more controls. Automatically fit all graphs to
the current view with a single click.
perspective of a plane in 3D space. Use the
tracker to create animated corner pin data,
matching scene features precisely.
◆ Import 3D channel image files saved in RLA,
RPF, Softimage PIC/ZPIC, and Electric Image
EI/EIZ formats. Simulate the effects of camera
depth of field, and use Fog 3D to simulate
volumetric haze in a source 3D image file.
◆ Instantly brighten or diffuse the bright areas
of an image to create a glowing halo or other
lighting effect, suitable for stylized emphasis
of featured elements.
◆ Simulate explosions, flocks of birds, swarms
of bees, and more using a powerful particle
system. Even text layers can be a particle.
◆ Generate sizzle around borders by adding
dancing, dissolve-style animated pixel scatter
to masked areas of a layer.
◆ Turn grayscale image, movie, or animated
◆ Quickly eliminate all the pixels on a layer that
into a vector-based mask, and quickly create
animated masks.
represented with value graphs on individual
channels, each with a unique color.
◆ Skew the corners of an image to simulate the
◆ Stroke, feather, transform, animate, and apply
◆ Turn any channel, including alpha channels,
◆ See spatial properties such as Position
another shape on the same layer, distorting
the image itself to fit the shape of the new
area.
text or graphic into an alpha or luma matte to
control what’s visible on another layer.
masks.
Editor. Scale and offset keyframes with
free-transform features, just as you would
scale or offset vertices on a mask
◆ Morph one defined shape in a layer into
visible by adding and animating an unlimited
number of masks on any layer.
◆ Import Photoshop and Illustrator paths as
◆ Edit Value and Speed graphs in the Graph
Fractal Noise, which is perfect for simulating
caustics, clouds, lava, flowing water, and gas.
Use included presets to create eye-catching
animated backgrounds.
Masking and Keying Tools
motion blur to masks over time.
Graph Editor
◆ Create textures and organic elements with
◆ Replicate natural motion by taking control of
mask transitions.
◆ Keylight creates subtle, elegant mattes of
reflections, semi-transparent areas, and hair.
Spill suppression, color correction, and edge
refinement help perfect the result.
◆ Replicate the method used to key color
footage on landmark films. The Color Difference Key weights the dominant color being
keyed against the other two primary colors.
are similar to a color you’ve specified. For
example, cut out a greenscreen background
in one step by specifying that color.
◆ Create high-contrast mattes with subtle edge
thresholds.
◆ Remove unwanted color spill from footage
quickly and easily.
◆ Compare foreground information in a scene
against a precisely matched, static background “clean plate,” leaving only the pixels
that are different.
◆ Derive the key from border pixels selected by
creating a rough mask around edges of an
object, to help in difficult keying situations.
◆ Spread or choke the selection area of any
alpha channel with a subpixel level of control.
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1030
COMPUTER VIDEO
ADO BE
AFTER EFFECTS CS3 PROFESSIONAL
Powerful Motion Controls
A single Shape Layer containing a compound shape makes it possible to control what appear to be multiple shapes
with a single set of controls.
◆ Puppet tool lets you squash and stretch an
image or text to bring it to life as an animated
character. You can also record the position
and speed of your puppet movements,
stiffen areas of the character, and control the
depth of elements of your puppet.
◆ Slow down and speed up footage with
smooth, crisp results and minimal artifacts.
Use Timewarp to analyze pixel motion and
create more accurate in-between frames.
◆ Produce effects such as variable slow motion
and backward playback using two types of
frame blending: Frame Mix and Pixel Motion.
◆ Quickly draw an animation path and set its
velocity. Then fine-tune the shape and
speed of the path with Smoother.
◆ Precisely match the motion of source
footage using the fast, accurate Motion
Tracker. Use as many points as you like or
standard one-, two-, and four-point settings
to track x and y positions, rotation, and scale.
◆ Eliminate unwanted motion using the
Motion Stabilizer, which can give handheld
video shots the look of a locked-off shot.
Text and Vector Graphics Creation and Animation
◆ Create text using Adobe-standard tools for
typing, editing, and formatting text, and edit
text created in Photoshop. Mix and match
fonts and other attributes on a layer.
◆ Animate text along paths, transform or
displace words or lines of text over time, set
inter-character blending modes, randomize
the order in which characters animate, blur,
or wiggle your text, and more.
◆ Explore text animation possibilities by mak-
ing individual characters in your text— or an
entire phrase—move and rotate in 3D space.
◆ Create natural-looking zoom effects by
making linear changes of scale exponential.
◆ Mix different portions of source footage cre-
atively using the luminance of one layer to
control the timing of pixels in another layer.
Enhanced Performance
◆ Take full advantage of multiprocessor and
multicore systems for RAM previews and
final renders. After Effects renders multiple
frames simultaneously whenever possible.
◆ Advanced OpenGL capabilities include sup-
port for blending modes as well as motion
blur, anti-aliasing, track mattes, high-quality
shadows and transparency, and accelerated
rendering of common effects. Use OpenGL
for accelerated final renders.
◆ Dramatically enhance previewing and inter-
activity on large projects with disk caching.
◆ Use the powerful Render Queue to simulta-
neously render at multiple resolutions and
file formats—or to batch render files.
more than 250 professionally designed, fully
editable text animation presets, or create and
save your own. Use Adobe Bridge CS3 to
conveniently preview and apply presets.
◆ Easily create and animate vector graphics
with new Shape Layers. Add and animate
strokes, fills, gradients, and vector effects. You
can convert text into shapes and animate
them just like any other shape type.
◆ Export animated text as vector-based SWF
files to create web-friendly animations.
Nondestructive Vector Painting
◆ Work with brushes similar to the ones in
Photoshop. Customize brushes to control
size, spacing, and angle, and save the settings.
◆ Remove unwanted distractions like dust and
scratches or replicate elements for a desired
effect, such as filling a stadium with people.
The Clone tool offers multiple presets and
onion-skinning of the source frame.
◆ Animate individual paint strokes over time to
change their size, position, or shape and to
create write-on and write-off effects.
◆ Control whether the Eraser tool removes
paint strokes only or paint strokes plus the
underlying background footage.
◆ Use Wacom tablets for more precise control
when painting in AE CS3
Integrated Script Editor
◆ Organize and edit scripts using numbered
lines, user-defined text formatting, and
colored text.
◆ Profile individual functions or lines within
scripts for individual timing and hit-count
information to understand how and when
individual parts of the scripts are called.
◆ Preview compositions in real time and bene-
fit from intelligent caching. Define a region
of interest for fast and long RAM previews.
◆ Save animation time by instantly applying
◆ Clearly isolate specific functions and
statements in complex scripts by interactively
managing breakpoints.
◆ Instantly access all scripts in the Scripts
menu, which also includes a JavaScript
Console and Call Stack, Breakpoints, and Data
Browser palettes.
Flexible Media Management
◆ View a flowchart of a composition or project
to see how it’s organized and which footage,
layers, and effects are used.
◆ Use post-render actions to streamline
back-end production tasks, such as creating
proxies or replacing project footage with
output from the Render Queue.
www.bhphotovideo.com
◆ Easily share projects and files across Windows
and Macintosh platforms.
◆ Mix multiple file resolutions from thumbnails
up to 30,000 x 30,000-pixel frames.
◆ Use commands such as Find, Reveal, Reduce
Project, and Collect Files to manage files.
COMPUTER VIDEO
A D O BE
1031
AFTER EFFECTS CS3 PROFESSIONAL
32-bit Audio Tools
Brainstorm
◆ Prepare and resample audio using sampling
Jump-start animations with Brainstorm, a new user
interface that offers variations based on selected design and
animation parameters. Choose which properties and effects
you want to explore, and Brainstorm will propose animated
variations. Brainstorm offers an array of possibilities; you can
select one you like and apply it, or you can choose to evolve
it further by clicking Brainstorm below the preview area. The
possibilities are endless.
rates from 22kHz to 96kHz. Play back audio
in real time without having to render
◆ Pan from the left speaker or channel to the
right speaker or channel, or vice versa, with
the Stereo Mixer.
◆ Remap audio over time with the Delay and
Backwards audio effects. Adjust audio tone
with Bass & Treble. Use Modulator, Parametric EQ, and High-Low Pass for precise professional control over 32-bit audio. Delay,
Flange & Chorus, and tone generation allow
you to stylize sound or generate sounds
from scratch.
◆ Generate full-color visuals based on audio
Professional Results for Every Media Type
◆ Specify output frame rates and resolutions
(up to 30,000x30,000 pixels) to meet international film and broadcast standards,
including Cineon, HDTV, HDV, and more.
◆ Import and export HDR color images in
elements that animate dynamically along a
frequency spectrum or that behave like an
audio waveform.
Color Accuracy
Photoshop, OpenEXR, Radiance, and TIFF formats to preserve the full dynamic range
of all footage.
◆ Simultaneously render at multiple resolutions
and file formats or batch render files, either
on a local machine or across a network.
◆ Import/output files in QuickTime, FLV and
SWF, AVI, MPEG-2, Windows Media (Windows
only), Photoshop (PSD), Camera Raw,
OpenEXR, Cineon, SGI, TIFF, TGA, IFF, JPEG,
MP3, WAV, and AIFF formats.
Unmatched Adobe Integration
◆ Enable color management by selecting a
Project Working Space. Maintains the color
accuracy of imported files as they are displayed and rendered and allows you to preview how footage will look on other devices.
◆ Color spaces from HD and SD video formats
are interpreted automatically. Profiles can
also be set via Interpret Footage.
◆ Save 32-bit high dynamic range (HDR) and
16-bit color values in Photoshop files. Text remains editable, and layers, video layers, layer
styles, blending modes, masks, transparency,
and color profiles are all preserved when
importing Photoshop files as compositions.
◆ Export Vanishing Point data from Photoshop
◆ Preview color accurately and simulate how
final output will appear whether on a broadcast monitor or projected via film stock.
◆ Convert color appropriately for a specific out-
put format (including SD and HD formats).
◆ Files such as 32-bit PSD, TIFF, or EXR, compos-
ite accurately in a 32-bit linear HDR project
workspace. Any output profile can be linearized for 32-bit HDR.
CS3 Extended, and then import the data into
After Effects to automatically build a 3D
composition from the 2D Photoshop image.
◆ Copy vectors from Illustrator to use as After
Effects masks or motion paths. Illustrator
layers and blend modes are preserved, and
vector shapes can be continuously rasterized
(and output as compact SWF files), preserving
smooth edge detail.
◆ Save time and preserve project organization
when working with Adobe Premiere Pro projects. Preserve bins, edits, markers, keyframed
effects, nested sequences, transitions, and
more. Drag and drop or copy and paste clips
from one application to the other.
◆ Import SWF files as continuously rasterized
vectors with alpha channel preserved, allowing you to scale them without loss in quality.
◆ Use markers to create cue points that can be
added to your FLV output. Automatically
convert any layer’s keyframes to cue points
to make it easier to trigger events in Adobe
Flash based on motion or elements changing
over time.
◆ Create motion menus and interactive but-
tons for your DVDs. Export movies from After
Effects with markers that Adobe Encore CS3
software reads as chapters.
◆ Work more efficiently via a single interface to
search and access your project files, preview
and apply presets, run batch processes, and
tag assets with XMP metadata.
◆ Work in an elegant and adaptable interface
featuring workspace panels that dock and
group for optimal organization, eliminating
overlapping windows. Save custom workspaces, control UI brightness, and more.
After Effects CS3 Professional Software:
For Windows (Mfr # 25510629 • B&H # ADAECS38W) or Mac (Mfr #15510671• B&H # ADAECS38M) .......................939.95
Upgrade After Effects CS2 to CS3 Professional:
For Mac (Mfr #15510673 • B&H # ADUAECS38M), or Windows (Mfr # 25510631• B&H # ADUAECS38W).................298.95
Color management in After Effects CS3 goes beyond
making color footage look correct on your own monitor. It
also lets you simulate how your final output will look on a
wide range of displays, from mobile devices to television to
film. You can even create your own custom simulations.
Total-Training DVDs:
Adobe After Effects CS3: Essentials Training DVD (Mfr #120223091• B&H # TOTAECS3E) ...................149.95
Adobe After Effects CS3: Advanced Training DVD (Mfr #120223791• B&H # TOTAECS3A) ...................149.95
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COMPUTER VIDEO
ADO BE
PREMIERE PRO CS3
Video Editing Software for Mac or Windows
Bundled with Adobe OnLocation CS3 (Windows only) and Adobe Encore CS3, Premiere Pro CS3
software is a complete start-to-finish solution for efficient video production. Tell your story with
powerful, flexible editing tools. Bring new dimension to your projects efficiently and in real time
with precise keyframe controls and features like high-quality slow motion with time remapping.
Save time creating dramatic effects and get finer creative control thanks to tight integration
with Adobe Photoshop CS3 and After Effects CS3 Professional. Achieve your vision with
professional color correction, quickly and precisely edit footage from multicam shots, and
much more—all from within a familiar, customizable interface.
Work with virtually any format with uncompromised image quality from start to finish.
Maximize footage quality and save time while shooting with professional camera image
monitoring and direct-to-disk recording using OnLocation CS3 software. Premiere Pro CS3 efficiently takes you from on-site
capture to final delivery without sacrificing the quality and integrity of your footage.
Finish and deliver content anywhere, from film and tape to the web, DVD, Blu-ray Disc, and mobile devices. Use Encore CS3
to create interactive content for DVD, Blu-ray Disc, and the web. Export FLV files with Premiere Pro CS3 timeline markers
converted automatically to cue points, and streamline the client review process with Adobe Clip Notes.
F EATURES
Edit Creatively and Efficiently
Focus on telling your story with powerful, flexible editing tools. Save time creating dramatic effects and get finer creative control thanks to tight
integration with Adobe Photoshop CS3 and After Effects CS3 Professional.
◆ Import and animate Photoshop layers. Edit
still images from Premiere Pro CS3 with
Photoshop CS3. Automatically create
Photoshop files to match the current
project’s frame size and aspect ratio.
◆ Save tape and time by eliminating capture.
Record SD and HD video directly to hard disk
OnLocation CS3 software. Instantly review
each shot without shuttling tape.
OnLocation automatically detects and flags
problems to provide the best results.
◆ Drag and drop or copy and paste clips and
timelines between Premiere Pro CS3 and
After Effects CS3 Professional. Open complete
Premiere Pro projects, including nested
sequences, in After Effects. Premiere Pro is
compatible with most After Effects plug-ins.
◆ Open Illustrator files in Premiere Pro CS3.
When scaling an image in Premiere Pro, the
image is rerasterized, ensuring that image
quality remains pristine.
◆ Send audio files to Adobe Soundbooth
software for editing, and hear changes
immediately in the Premiere Pro CS3 timeline.
◆ Adjust the Premiere Pro CS3 interface to fit
any editing style, workflow, and environment.
Panels can be configured in many
arrangements and across multiple monitors.
Use the docked interface to simultaneously
adjust all windows.
◆ Find files fast with search tools that instantly
Improve efficiency and incorporate a tapeless workflow
during shoots using OnLocation CS3 to monitor your
camera’s video signal and record it directly to hard drive.
update results as you type. Sort and organize
assets into multiple project panels, each with
its own graphical or text view setting. Display
and handle media files, making project
management easier and more efficient.
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◆ Save time in the authoring process by sending
media with timeline markers directly to
Adobe Encore CS3 for interactive authoring
for Blu-ray Disc, DVD, and the web.
◆ Archive media, reclaim drive space, and move
between offline and online environments.
Consolidate projects to a single location for
archiving and storage management.
◆ Use Adobe Bridge CS3 to search for and
access your project files, preview and apply
settings, run batch processes, and tag assets
with XMP metadata.
◆ Personalize your experience by creating
multiple keyboard maps for different tasks
or to support multiple users.
◆ Set the timeline to scroll smoothly under a
stationary indicator during playback, or
adjust it to advance one page as the playback
indicator reaches the edge of the window.
◆ Switch between panels using keyboard
shortcuts that save time and mouse fatigue.
◆ Play nested sequences immediately without
having to render audio. This can save time
when working with multicam sequences.
COMPUTER VIDEO
A D O BE
1033
PREMIERE PRO CS3
Advanced Video Editing
Advanced Audio Editing
◆ Make complex edits (ripple, rolling, slip-and-
slide) in one step. Trim and adjust footage
with single actions that would otherwise require multiple steps.
◆ Multicam editing lets you view multiple
video tracks from a multiple-camera shoot,
easily sync via timecode, and edit by switching between tracks in real time. Rerecord
sections of your edit, make fine adjustments
using standard timeline editing tools, and
easily adjust color correction across multiple
shots, even after editing.
◆ Use primary and secondary color-correction
◆ Create 5.1 surround-sound audio mixes, edit
◆ Built-in audio mixer lets you control volume
audio with individual sample precision, and
apply clip- and track-based effects, using the
included VST plug-ins or your own. Create
and manipulate 5.1 multi-channel audio to
produce true surround sound and other
richly layered audio experiences.
and pan/balance setting. Use advanced
features like channel inserts, auxiliary sends
and returns, automation, and more.
◆ Apply multiple audio effects to any audio clip
or track and work with third-party VST-format
audio plug-ins. Enjoy audio effects and
editing unequaled by any other nonlinear
editor and by most audio software.
◆ Adjust audio clips with a precision of up to
1/96,000 of a second. Set precise L- and
J-cuts. Eliminate small pops, crackles, and
other unwanted audio elements.
◆ Create smooth audio crossfades and other
audio changes with a minimal number of
keyframes, simplifying editing and preserving
system resources.
tools to match shots; change colors; correct
exposure errors; and modify highlights, midtones, and shadows across clips, sequences,
or entire projects.
◆ Use OnLocation CS3 to quickly calibrate your
camera, check levels, and monitor your signal. Use simple tools that function like their
hardware equivalents to get results quickly
and easily. The virtual reference monitor,
waveform monitor, vectorscope, and audio
spectrum analyzer help you avoid problems
and improve quality when shooting.
◆ Monitor luma and chroma levels on every
Powerful editing,
finishing, and
delivery tools for
Mac and Windows
line with the built-in waveform monitor and
vectorscope. Display Waveform IRE information in standard, YCbCr Parade, RGB Parade,
or combined modes.
Effects
◆ Edit each section or sequence of your proj-
ect on its own timeline. Nest each timeline
section into a master timeline while maintaining full access to every edit.
◆ Maintain source integrity with support for
10-bit video and 16-bit PSD files.
◆ Break master clips into smaller subclips for
more flexible editing, especially when working with large sections of content. Treat subclips like any other video clip by trimming,
applying effects, renaming, and more.
◆ Apply powerful visual and motion effects to
your clips with high-quality built-in effects.
An almost unlimited choice of additional
effects is available thanks to the wide range
of After Effects compatible plug-ins for
video and VST plug-ins for audio.
◆ Add a spot, directional, or omni light to your
video footage. Create multiple lights to see
different looks on different parts of a scene.
◆ Explore hundreds of high-quality
production and design filters and effects
to restore and enhance your video, graphics,
and audio.
create high-quality slow motion through
pixel-motion analysis. The Timewarp filter
gives precise keyframe control over every
parameter, producing the highest quality
results on the most difficult source content.
◆ Instantly improve your video image quality
with filters like those in Photoshop,
including Auto Color, Auto Contrast, and
Shadows/Highlights.
◆ Create traveling mattes by applying effects
and animation to individual track-matte
clips.
◆ Create your own effects presets. Save simple
◆ Control any audio and video effect parame-
and complex effects parameters as a custom
preset that you can quickly apply to any clip
in any project.
ter using comprehensive keyframe controls
that mirror those found in After Effects. Get
precise control using Bezier handles to
finesse the shape of parameter curves.
◆ Use slow motion to create dramatic effects
The Multi-Camera window makes editing action
recorded with several cameras or in multiple takes as
easy as pointing and clicking.
◆ Use the Timewarp effect as in After Effects to
that focus on the action. Time remapping
feature lets you speed up, slow down,
reverse, and hold frames with precision.
◆ Create sophisticated text and graphics titles
from scratch, from professionally designed
templates, or from user-defined styles.
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1034
COMPUTER VIDEO
ADO BE
PREMIERE PRO CS3
Broad Format Support
Work with virtually any format with
uncompromised imagery from start to finish.
Maximize footage quality and save time by
recording directly to hard disk using
OnLocation CS3.
◆ Work with the formats you want. Edit all
standard- or high-definition formats, from
DV and HDV to HD and beyond (some
formats may require additional hardware).
◆ Import and edit content from Panasonic P2
cameras without transcoding or rewrapping,
saving time during editing and retaining
important metadata from the P2 device.
◆ Edit the majority of the frame rates and
resolutions supported by Panasonic P2
cameras, including 50P and 60P. Combine
resolutions freely on the timeline.
◆ Capture and edit HDV content in real time
and in its original format with no conversion
or quality loss. Premiere Pro CS3 supports
HDV cameras VCRs from Sony, JVC, and
Canon.
◆ Import and export major video, audio, and
graphic file formats, including QuickTime,
Windows Media, AVI, BWF, AIFF, JPEG, PNG,
PSD, TIFF, and more.
◆ Import still-image files in any major format
including PSD, BMP, GIF, EPS, JPEG, PCX, PICT,
PNG, and TIFF. Export in BMP, GIF, TARGA,
and TIFF formats.
◆ Play through most common transitions and
effects without waiting to render. For even
more real-time performance, add hardware
from a variety of third parties.
◆ Display timecode for 16mm and 35mm film
in standard Feet + Frames nomenclature.
◆ Import, edit, and output image sequences
with dimensions up to 4,096x4,096 pixels.
◆ Preview widescreen footage on a 4:3
monitor or lay off to a 4:3 tape or DVD with
real-time letterboxing. Help ensure that your
16:9 material looks right during playback.
Hardware Support
◆ Control video decks through RS-422 and RS-232 serial protocols or Firewire interfaces for precise
batch capturing, recapturing, and insert editing.
◆ Record and play back audio through any multichannel audio card or hardware that supports the
industry-standard ASIO protocol (Windows only).
◆ Choose from a wide range of capture cards and other hardware to build the HD, SD, or DV editing
system that meets your needs and budget.
Deliver Everywhere
◆ Accelerate reviews and reach the widest
possible audience by delivering your
work to film, tape, the web, DVD, Blu-ray
Disc, and mobile devices.
◆ Exchange project metadata with major
video, film, and audio applications via
industry-standard Advanced Authoring
Format (AAF), AAF with Edit Protocol,
and Edit Decision List (EDL) files. (AAF
import/export for Windows only)
◆ Maintain the pristine quality of your HD
video all the way to distribution. Create
high-definition Blu-ray Discs with Adobe
Encore CS3, working with the same
interface and features used to create
standard-definition DVDs.
◆ With one click, easily create SWF versions of
your DVD and Blu-ray Disc projects for the
web. Use Encore CS3 to create content
compatible with Adobe Flash Player, complete with DVD interactivity and menus.
◆ Easily incorporate video into Flash CS3
projects as you create immersive experiences
for the web. Timeline markers are embedded
as cue points when exporting FLV files from
Premiere Pro CS3, streamlining the process of
creating interactive and navigational triggers.
◆ Support for any frame size up to 4,096 x
4,096 pixels, and for every major image and
sequence file format (including AI, PSD, TGA,
TIFF, and BMP), makes Premiere Pro CS3 the
ideal tool for editing and preparing
sequences for output to film formats.
Maintain control of your media with multiple
Project panels, customizable panel display
settings, and instant file searches.
◆ Use Encore CS3 to author interactive titles,
and then publish them to —Blu-ray Disc,
DVD, and SWF for playback through Adobe
Flash Player—with a single click.
◆ When editing Panasonic P2 content, export
your sequence to a P2 card for reuse and
playback on other Panasonic P2 equipment.
◆ Make your project web ready. In addition to
FLV format, choose from comprehensive
compression tools for Internet-friendly file
formats including Real, Windows Media, and
QuickTime.
◆ Export your digital cinema project as a
Windows Media 9 Series file with 720p or
1,080p resolution and 5.1 surround sound —
create a stunning theatrical experience.
◆ Capture and edit HD or up to 4K scanned
files, consolidate and manage projects, and
work efficiently with After Effects CS3
Professional and Photoshop CS3 software.
◆ Set your project to any resolution and work
with it throughout production—great for
creating video banner ads, content for small
screens, and more.
Premiere Pro CS3 Video Editing Software for Windows (Mfr # 25520528 • B&H # ADPPCS33W) .......734.95
Premiere Pro CS3 Video Editing Software for Mac (Mfr # 25520540 • B&H # ADPPCS33M)..................749.00
Adobe Upgrade Premiere Pro or Encore CS2 to Premiere Pro CS3 for Windows
(Mfr # 25520568 • B&H # ADUPEPPCS33W) ....................................................................................................................298.95
Adobe Upgrade Premiere Pro or Encore CS2 to Premiere Pro CS3 for Macintosh
(Mfr # 25520578 • B&H # ADUPEPPCS33M) ....................................................................................................................298.95
www.bhphotovideo.com
COMPUTER VIDEO
A D O BE
1035
ILLUSTRATOR CS3
The Essential Vector Tool
Illustrator CS3 allows you to create sophisticated artwork for virtually any medium.
Industry-standard drawing tools, flexible color controls, and professional type controls
help you capture your ideas and experiment freely, while timesaving features such as
easier-to-access options let you work quickly and intuitively. Improved performance and
tight integration with other Adobe applications also help you produce extraordinary
graphics for print, web and interactive, and mobile and motion designs.
Quickly explore multiple design options with industry-standard drawing tools, new color
controls, and a wealth of powerful effects enable greater creative productivity and the
ability to easily experiment. Use new Live Color to explore color harmonies and interactively
apply color to any selection of objects. Work faster by controlling path editing and point
alignment in the Control panel. And enhance your artwork with professional typography and transparent effects.
With easier access to tools and options, flexible and customizable workspaces, and a wealth of timesaving features and
shortcuts, you can speed through design and production tasks. The enhanced Control panel frees up screen space and
puts more options at your fingertips, while New Document Profiles provide a launch pad for video and other designs.
F EATURES
◆ Live Color, which lets you select any artwork
and interactively edit the colors to see results
immediately.
◆ Organize swatches in groups and view them
in organized hierarchies. Automatically name
them by their color values, or intuitively.
◆ Easily paint any closed or partially closed
◆ Use clipping masks to hide areas of an object
◆ Align and distribute anchor points with one
or group, crop placed images, or cut intricate
shapes.
click using options in the Control panel. It’s
as easy as aligning and distributing objects.
◆ Use opacity masks to alter the transparency
of underlying objects and achieve effects
such as a transparent gradient.
◆ Assign a spot color to a linked, embedded, or
area of your artwork with the Live Paint
Bucket.
opened grayscale image, or even apply a
spot color to a drop shadow.
◆ Warp, liquify, and distort artwork any way
◆ Morph one shape into another to create
imaginable with envelopes and live
distortion tools. Easily access envelope
options from the Control panel.
smooth shading, complex contours, and
basic animations.
◆ Apply nondestructive live effects from the
◆ Apply live effects without affecting the
Adobe Photoshop Effect Gallery.
underlying artwork, so you can edit at any
time without starting over.
◆ Produce visually compelling charts and
◆ Bblending modes and transparency effects
similar to those in Photoshop.
◆ Simulate airbrush and watercolor effects by
adding multiple colors and precisely
controlling the transitions between colors.
◆ Turn 2D shapes into fully editable 3D objects
by extruding and revolving paths. Add lighting and wrap images around 3D shapes to
create objects such as packaging mock-ups.
◆ Add design elements to your artwork by
graphs, including quickly applying
harmonious color groups with Live Color.
◆ Quickly and accurately convert photos,
scans, or other bitmap images to editable
and scalable vector paths using Live Trace.
◆ Quickly remove areas of artwork with the
Eraser tool as easily as you erase pixels in
Photoshop. Enjoy complete control over the
width, shape, and smoothness of the erasure.
◆ Position objects and anchor points with
expert precision using Smart Guides and the
Align, Transform, and Control panels.
◆ Draw with precision using the Pen tool for
full control over anchor points and Bezier
curves.
◆ Draw onscreen as you would on paper with
the Pencil tool. Smooth out paths by drawing
a new line near the path you want to alter.
◆ Define solid and dashed lines in the Stroke
panel. Specify weight, miter limit, the style
of joins and caps, and whether the stroke is
inside, centered on, or outside the path.
◆ Add flair to paths with customized brushes.
Choose from calligraphic, scatter, art, and
pattern brushes, or make your own brush.
◆ Apply formatting to individual characters,
lines of type, or entire paragraphs with a
single click.
◆ Expand typographic options using ghosted
text, transparent drop shadows with soft
edges, and other effects for transparent text.
◆ Remove, connect, and split paths — and
spraying, scaling, colorizing, and adjusting
the transparency of repeated symbols while
keeping file sizes small.
convert anchor points. Roll the mouse over
curve handles to get an enlarged view for
easier point selection.
Illustrator CS3
For Windows (Mfr # 26001648 • B&H # ADICS313W) or
Mac (Mfr #16001647 • B&H # ADICS313M) .............599.00
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1036
COMPUTER VIDEO
ADO BE
FLASH CS3 PROFESSIONAL
Create and Deliver Interactive Content
Flash CS3 Professional is the most advanced authoring environment for creating rich, interactive
content for digital, web, and mobile platforms. Create interactive websites, rich media
advertisements, instructional media, engaging presentations, games, and more. Designers
and developers depend on Flash and the ubiquitous Adobe Flash Player software to ensure their
content reaches the widest possible audience. Available for Windows and as a universal-binary
application for Mac, Flash CS3 Professional provides the tools you need to be successful.
Realize your creative vision with a full complement of drawing, animation, and interactive
design tools. Explore innovative styles and techniques, impress clients with more than they
expected, and deliver consistent results across multiple platforms. Leverage the power of a true
development environment. Utilize professional coding tools including code collapse, commenting, automatic syntax completion, streamlined error resolution, and more.
F EATURES
Sophisticated Video Tools
◆ Choose from either the high-quality On2
VP6 codec or the Sorenson Spark codec for
advanced encoding options when creating
FLV files. Use the batch processor to encode
multiple video files at once.
◆ Export video directly to FLV from leading
professional post-production applications.
◆ Overlay video composited with a transparent
or semi-transparent alpha channel with
other content at runtime. Create unique
effects using compositing tools such as After
Effects and import them into Flash CS3 Professional with transparency preserved.
◆ Produce video quality that rivals today’s best
video codecs while maintaining small file
size with the advanced video codec in Flash
Player, On2 VP6.
◆ Embed cue points directly into an FLV file
to trigger events during playback and
coordinate the playback of accompanying
graphics and animations.
◆ Centralized dialog presents options for FLV
deployment during video import. The dialog
also instantiates the skinnable video
component and prepopulates it with
required deployment parameters.
◆ Easily import and improve video quality and
appearance with encoding options such as
deinterlacing, advanced cue point control,
and new video component skins.
◆ Use the skinnable video component to easily
customize the look and feel of video projects
without significantly increasing file size. The
component works with multiple deployment
options, including streaming and progressive download.
◆ Render content published in a SWF file as a
QuickTime video using the advanced QuickTime exporter. Export content that includes
nested MovieClips, content generated with
ActionScript language, and runtime effects
such as drop shadow and blur.
Time Saving Coding Tools
◆ Hide code from view by selection or tag so
you can focus more easily on the code you
are developing.
◆ Use easy menu commands to apply com-
ment/uncomment tags to entire lines or any
section of code. This Script Editor feature
remains consistent across both Adobe Flash
CS3 and Dreamweaver software.
◆ View code errors in a separate panel that is
automatically generated when performing
tasks such as check syntax, test movie, test
project, debug movie, or publish. Click to
jump directly to that section of code.
Drawing Capabilities
◆ Manipulate vector shapes with powerful
shape drawing tools. Easily bend, erase,
distort, skew, and combine vector shapes in
a natural and intuitive way.
◆ Create pie wedges, round off rectangle
corners, define an inner circle radius. Visually
adjust shape properties on the stage.
◆ Create precise vector illustrations with the
Create rich, interactive
content for digital, web,
and mobile platforms.
Pen tool inspired by Adobe Illustrator, and
then manipulate Bezier control points using
Illustrator keyboard shortcuts.
◆ Copy and paste illustrations from Illustrator
into Flash CS3, preserving full fidelity.
◆ Toggle the object drawing mode to represent
shapes as objects for easy visualization, the
same way you would in Adobe Illustrator.
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COMPUTER VIDEO
A D O BE
1037
FLASH CS3 PROFESSIONAL
Powerful Animation Tools
ActionScript Development
◆ Create more compelling designs with
◆ Save time with ActionScript 3.0 language, featuring improved performance, increased flexibility,
built-in filter effects like drop shadow, blur,
glow, bevel, gradient bevel, and color adjust.
Apply effects to MovieClips and text fields to
be rendered at runtime by Flash Player,
consequently minimizing file size.
and more intuitive and structured development.
◆ Test content with a powerful, new ActionScript debugger that offers greater flexibility and user
feedback, as well as consistency with Adobe Flex Builder 2 debugging.
◆ Facilitate scripting with Script Assist, a visual user interface for script editing that includes
automatic syntax completion as well as descriptions of the parameters of any given action.
◆ Use blend modes to create unique visual
blending effects when images overlay each
other. Blends are rendered at runtime and
updated live as objects move.
◆ Easily and precisely control the velocity of
◆ Easily use different versions of the ActionScript language by selecting from different language
profiles in the Actions panel, including profiles for mobile development.
◆ Instantly convert timeline animations into ActionScript 3.0 code that can be easily edited,
re-used, and leveraged by developers. Copy animations from one object to another.
animated objects using an intuitive graph
that provides independent control of
position, rotation, scale, color, and filters.
◆ Create interactive content with new, lightweight, easily skinnable interface components for
ActionScript 3.0. Visually modify components’ look and feel with the drawing tools — no coding
required.
◆ Copy an animation that is applied to an
object and paste it into any other timeline
object, dramatically reducing time spent on
animation development.
◆ Integrate video into ActionScript 3.0 projects using optimized video playback component,
featuring closed-captioning capabilities, as well as support for streaming FLV content and
progressively downloaded FLV files.
Adobe Integration
◆ Import and integrate Photoshop (PSD) files,
while preserving layers and structure, and
then edit them in Flash CS3. Optimize and
customize the files during import with
advanced options.
◆ Import and integrate Illustrator (AI) files,
Flash CS3 sports a user interface consistent with that
found in other Adobe Creative Suite 3 components—
easy to read and adjust to your liking. Panels can also
be reduced to a new iconic view and slide open as you
need them, leaving more room to see your document.
◆ Experiment with different versions of the
same file, manage complex layouts, and save
time by exposing only the layers you want to
export and hiding the rest.
◆ Import MP3 files. Integration with Adobe
Soundbooth makes it easy to edit files,
without any audio production experience.
◆ Avoid unnecessary re-rendering of vector
objects with bitmap caching. Flag an object
as a bitmap at runtime so it gets cached as a
bitmap; vector data is maintained, so it can
be converted back to a vector at any time.
while preserving layers and structure, and
then edit them in Flash CS3. Optimize and
customize the files during import with
advanced options.
◆ Export individual layers with transparency
using the new QuickTime exporter, and
import them into After Effects for advanced
manipulation.
◆ Export individual layers with transparency
using the new QuickTime exporter, and
import them into Adobe Premiere Pro for
advanced manipulation. Import FLV directly
from Premiere Pro.
◆ Enjoy a streamlined interface that
emphasizes consistency with other Adobe
CS3 applications and can be customized to
improve workflow and maximize stage space.
◆ Work more efficiently to create and edit
animations created in Flash. Preserve vectors
from animations created in After Effects for
lean and clean delivery, and create FLV content more easily. Import SWF files as vectors
with alpha channel preserved and batch
render FLV files with embedded cue points.
◆ Import/export XML-based cue-point data
files from Premiere Pro, After Effects, and
Soundbooth to create sophisticated
interactive video experiences. Use cue
points to trigger interactivity at specific
points in video and audio content.
◆ Design, preview, and test mobile device
content using Adobe Device Central CS3,
now integrated throughout Creative Suite 3.
Create and test interactive applications and
interfaces viewable with Flash Lite software.
◆ Enjoy a more efficient workflow with Adobe
Bridge CS3, the hub of Creative Suite 3,
which offers central access to project files,
applications, and settings, as well as XMP
metadata tagging and searching capabilities.
◆ Leverage the Flash APIs to easily develop
extensions that add custom functionality.
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◆ Add motion to your creations with the easy-
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to-use, highly controllable, frame-based
timeline inspired by traditional animation
principles such as keyframing and tweening.
Upgrade Flash 8 to Flash CS3 Professional for Win (Mfr # 38039496 • B&H # ADUFPCS39W) ..............198.95
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COMPUTER VIDEO
ADO BE
PHOTOSHOP CS3 EXTENDED
The World-Standard Image Editing Program
Accelerate your path from imagination to imagery. Ideal for editors, graphic designers and web
designers, Photoshop CS3 Extended offers features such as automatic layer alignment and
blending that enable advanced compositing. Live filters boost the comprehensive, nondestructive editing toolset for increased flexibility. And a streamlined interface and new timesaving
tools make your work flow faster. Take advantage of a wide range of improvements designed to
boost productivity. Maximize your workspace with a streamlined interface, process raw images
with increased speed and quality, and manage assets more efficiently in the revamped Adobe
Bridge CS3. And enjoy complete compatibility with Photoshop Lightroom software, so the
changes you make to an image in one product will automatically appear in the other.
The comprehensive image-editing toolset in Photoshop CS3 Extended lets you correct and
enhance your images with unmatched creative control. Experiment more freely with
nondestructive filters. Manage and correct color more easily, and convert color images to rich black-and-white with one click.
Retouch images with more powerful cloning and healing tools. And count on higher fidelity conversion when you merge a
series of exposures into a 32-bit high dynamic range (HDR) image.
Photoshop CS3 Extended offers a wealth of features that make compositing multiple images easier than ever before. Create
more accurate composites with new tools that automatically align and blend layers or images based on similar content. Make
an image selection with one brush stroke. Perfect any selection edge in an easy-to-use, intuitive dialog box. And merge multiple photos into a panorama with superior results.
F EATURES
◆ Undo and redo any set of editing steps in an
open image with the History palette, and
automatically track all editing steps within
your files with the Edit History log. Export
steps to a text file or save them as part of
image metadata for easier documentation
of your work, file audits, and more.
◆ Take advantage of Adobe Flash and Zoomify
technology to export high-resolution images
to the web for viewing through Adobe Flash
Player software. Flash Player displays your
image quickly and efficiently, letting viewers
zoom in on details with minimal delay.
◆ Import and export a wide range of file
formats, including PSD, BMP, Cineon, JPEG,
JPEG2000, OpenEXR, PNG, Targa, and TIFF.
◆ Experience native performance on Intel and
PowerPC- based Macintosh computers, and
on Windows XP and Vista systems.
◆ Paint, add text, and clone over multiple
frames of an imported video sequence.
◆ Easily create animations from a series of still
images or video frames with a new Animation palette that enables onion skinning.
◆ Create compelling mobile content, such as
wallpapers and screensavers, and then
visually preview how it will render on
mobile devices using the built-in Adobe
Device Central CS3. Tune your designs for
mobile screen sizes and lighting conditions.
◆ Automate common production tasks in a va-
riety of ways. Set up event-based scripts,
record a series of steps as an Action for
efficient batch processing, and design
repetitive graphics faster with Variables.
◆ Maximize screen space for editing while
keeping essential tools accessible. Palettes
are now arranged in convenient, self-adjusting docks that can be widened to full size or
narrowed to icons or even a thin, self-revealing strip at the edge of your monitor.
◆ Organize and manage images efficiently
with Adobe Bridge CS3, which has a Filter
panel for easy searching, can group multiple
images under a single thumbnail, the Loupe
tool, offline image browsing, and more.
◆ Set up and save custom menus, keyboard
shortcuts, and workspaces for quick access
to what you need.
www.bhphotovideo.com
3D Image Editing
◆ Easily render and incorporate rich 3D
content into your 2D composites — even
edit existing textures on 3D models directly
within Photoshop Extended and immediately see the results. Supports common 3D
interchange formats, including 3DS, OBJ,
U3D, KMZ, and COLLADA, so you can import,
view, and interact with most 3D models.
◆ Create, modify, and collaborate on 3D
content more easily through tight integration between Photoshop CS3 Extended and
Acrobat 3D software. Convert myriad 3D
CAD formats to the robust U3D interchange
format, enhance models and create composites with Photoshop Extended, and easily
embed 3D models created in Photoshop Extended into PDF files to distribute for review.
◆ Edit in perspective on multiple surfaces —
even those connected at angles other than
90°— with the enhanced Vanishing Point,
which also lets you measure in perspective;
wrap graphics, images, and text around
multiple planes; and output 2D planes as
3D models.
COMPUTER VIDEO
A D O BE
1039
PHOTOSHOP CS3 EXTENDED
Composite with Breakthrough Tools
Unrivaled Editing Power
◆ Composite images, text, and effects on
◆ Add, adjust, and remove filters from an
image without having to resave the image
or start over to preserve quality.
Nondestructive Smart Filters let you visualize
changes without altering original pixel data.
◆ Perform non-destructive scaling, rotating,
and warping of raster and vector graphics
with Smart Objects. Preserve the editability
of vector data from Adobe Illustrator.
◆ Take advantage of precision color correction
made faster and easier. Brightness/ Contrast
now provides better results from the same
intuitive interface, and enhanced Curves
controls let you make automatic adjustments with included presets or those you
create; convert to black-and-white with
point sliders; and use a histogram, color
channel lines, and a clipping preview.
hundreds of layers for extraordinarily
sophisticated results. Organize layers
with up to five levels of nesting, and
save in different combinations as Layer
Comps.
◆ Create more accurate composites by
automatically aligning multiple Photoshop layers or images based on similar
content. The Auto-align Layers command quickly analyzes details and
moves, rotates, or warps layers to align
them perfectly, and the Auto-blend
Layers command blends the color and shading to create a smooth, editable result.
◆ Make selections in a snap. Loosely draw on an image area, and the Quick Selection tool automat-
ically completes the selection for you. Then fine-tune your selections with the Refine Edge tool.
◆ Take advantage of Photomerge technology, which uses layer-alignment and layer-blending
capabilities to let you automatically stitch horizontal or vertical photos into seamless panoramas.
◆ Easily convert color images to rich black-
and-white and adjust tonal values and tints
with a new tool. Experiment with the
included black-and-white presets, or create
and save your own custom presets to
achieve the best results.
◆ Take advantage of new functionality and a
host of presets that make the Channel Mixer
easier to use for B&W conversion.
Measurement, Counting, and Edit-Tracking Tools
◆ Extract quantitative information from images with new measurement tools. Easily calibrate or set
the scale of an image, and then use any of the Photoshop Extended selection tools to define and
calculate distance, perimeter, area, and other measurements. Record data points in a measurement log and export data, including histogram data, to a spreadsheet for further analysis.
◆ Show scale in images destined for presentation or publication using the Scale Marker, which lets
you easily add a scale graphic to any image.
◆ Create and edit 32-bit images and combine
◆ Easily and accurately count objects or features in scientific images with the Count tool, which
multiple exposures into a single, 32-bit
image that preserves the full range of a
scene—from the deepest shadows to the
brightest highlights. New image processing
and alignment algorithms deliver superior
results.
eliminates the need to perform manual calculations or rely on visual assessments of changes
from image to image.
◆ Undo/redo any set of editing steps in an open image with the History palette, and automatically
track all editing steps within your files with the Edit History log. Export steps to a text file or save
them as part of image metadata for easier documentation of your work, file audits, and more.
◆ Experience greater control when retouching
images with cloning tools and the Healing
Brush. See source pixels under your tool or
brush for more precise positioning; preview
changes to source content live; and set
multiple source points, scale, and rotate in
the new Clone Source palette.
◆ Create or modify images with a wide
Support for Manufacturing, Medical, and Scientific Workflows
◆ Quickly combine a series of related images and render them into a single view using a wide
variety of rendering options, such as median and maximum. Photoshop Extended automatically
analyzes and combines the images while preserving the originals. Image Stacks are extensible,
so third parties can write their own render modes.
◆ Use the comprehensive Photoshop Extended toolset to import, correct, annotate, analyze, and
create animations from DICOM images. Even automatically remove patient information from
DICOM metadata and batch save JPEG files for presentation purposes.
assortment of professional, fully
customizable paint settings, artistic
brushes, and drawing tools.
◆ Pass image data directly between Photoshop Extended and MATLAB with the ability to call
◆ Take perspective-based editing to a new
level with the enhanced Vanishing Point,
which lets you create multiple planes in an
image, connect them at any angle, and then
wrap graphics, text, and images around
them to create packaging mock-ups and
more.
Photoshop Extended directly from the MATLAB command line. Visualize results of MATLAB
algorithms in the software, and combine MATLAB processing with Photoshop Extended image
editing to render, test, and refine algorithms for image processing, analysis, and more.
Photoshop CS3 Extended: For Macintosh (Mfr # 19400084 • B&H # ADPSECS3M) .....................................998.95
Photoshop CS3 Extended: For Windows (Mfr # 29400084 • B&H # ADPSECS3W) .......................................998.95
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COMPUTER VIDEO
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CS3 PRODUCTION PREMIUM
The Total Post-Production Solution
Maximize your productivity with Adobe’s Creative Suite 3 Production Premium, the total
post-production solution for both Mac and Windows. Achieve creative control with a
complete set of professional video and audio post-production tools to take your ideas from
storyboarding and acquisition through production and delivery. Work with Adobe’s
powerful software components to realize even the most demanding vision. Capture
footage, edit efficiently, apply blockbuster visual effects, create and match compelling
audio to your productions, deliver your creations virtually anywhere, and much more.
Experience exceptional productivity offered by a highly integrated set of tools. Move
smoothly among select components via Adobe Dynamic Link, which eliminates intermediate
rendering so you can work fast and stay focused. Enjoy native Photoshop file support across
the components of Production Premium, as well as all-new integration between Photoshop and After Effects to allow for
even greater animation possibilities. Save time by exporting from After Effects, Premiere Pro, and Soundbooth with
markers converted to cue points for easier project creation in Adobe Flash. Manage media more efficiently than ever with
Adobe Bridge, a single, intuitive interface that enables instant previews of video and audio files, batch processing, and
image sequence previewing and scrubbing.
Reach the widest possible audience. CS3 Production Premium supports every major file format and lets deliver your work
to virtually any medium, including film, video, DVD, Blu-ray Disc, the web, and mobile devices.
F EATURES
Adobe Bridge CS3
◆ Use native files any way you need to: Open
native Photoshop files in Illustrator, import
them into Flash projects. Open Illustrator
files in Photoshop and import them into
Flash projects.
◆ Get the most out of CS3 Production
Premium on Intel-based Macs and Windows
Vista systems. Work smoothly on legacy
PowerPC based Mac and Windows XP
systems as well.
◆ Experience unrivaled image editing and
compositing, and even perform advanced
image analysis, using Photoshop CS3
Extended. Produce inspired vector graphics
with Illustrator CS3, which lets you interactively explore, apply, and control color. And
work seamlessly between the two components with native file format support.
◆ Become more proficient at web andinterac-
tive design. Get up to speed quickly in Flash,
which features a familiar Adobe-standard
interface, an object-oriented drawing mode,
and a Pen tool like the one in Illustrator.
◆ Import layered Photoshop and Illustrator
files into Flash, animate them, and export
them automatically as ActionScript 3.0 to
hand off to developers.
A powerful, but easy-to-use media manager for visual people, Adobe Bridge CS3 provides
centralized access to project files, applications, and settings, as well as XMP metadata tagging and
searching capabilities. Allowing you to easily organize, browse, locate, and preview assets, Bridge
CS3 offers faster performance; customizable workspaces; nondestructive batch-editing of TIFF,
JPEG, and camera raw files; playback of SWF and FLV files; and direct access to useful services such
as Adobe Stock Photos.
◆ Locate files using the powerful Filter panel,
which lets you filter content by metadata
properties such as file type, file modification
date, keywords, aspect ratio, and orientation.
Sort results by criteria ranging from filename
and creation date to label and rating.
◆ Set color preferences from a centralized
panel in Bridge for more consistent color in
your projects and files. This single set of
preferences controls color settings for
Photoshop and Illustrator CS3, so colors
match closely onscreen as you work with
the same file in different tools.
◆ View and search by new types of metadata
criteria, including Illustrator swatches and
the DICOM medical imaging format. Search
images using more types of metadata
criteria, including EXIF camera settings such
as exposure, focal length, and aperture.
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◆ Access Device Central CS3 from within Bridge
to easily preview images, animations, and
other content you're developing for mobile
devices. With Device Central, you can
preview, test, and optimize your designs, for
a variety of mobile devices.
◆ Browse and purchase royalty-free stock
photos from a wide range o iimage libraries in
one convenient location. Search more than
one million images from 23 agencies, and
narrow results with easy-to-use advanced
search features. Download comps in one
click, and edit images directly in Photoshop.
◆ Evaluate images in the enhanced Preview
panel, which can quickly be sized to full
screen and offers a new Loupe tool to zoom
in on details. Compare images side by side,
preview and play back SWF and FLV files, and
preview and scrub image sequences.
COMPUTER VIDEO
A D O BE
1041
CS3 PRODUCTION PREMIUM
Adobe Soundbooth CS3
Adobe Device Central CS3
Adobe Device Central CS3 is designed to boost
the efficiency and productivity of creativeprofessionals and mobile developers who want to
produce innovative and compelling content
for a broad range of mobile phones and consumer electronics devices. A regularly updated
library of device profiles, combined with intelligent integration between Device Central CS3
and the other Creative Suite 3 components,
simplifies the mobile authoring workflow and
makes it a snap to preview designs and test
content on the desktop — before loading it on
the target device for final testing.
Soundbooth CS3 lets you take command of your audio in film, video, and Adobe Flash software
projects. Use on-clip controls to make fast edits and intuitive, task-based tools to clean up
recordings, polish voice-overs, customize music, modify sound effects, apply high-quality filters,
and much more. Tight integration with Flash CS3 Professional and Premiere Pro CS3 and anintuitive, visual interface mean you can get the job done quickly without sacrificing creative control.
◆ Powerful, sample-accurate tools to cut, copy,
paste, fade, and stretch audio assets. Intuitive
tools make common edits instant, and visual
feedback keeps you informed at every step.
Enjoy built-in access to Acrobat Connect software from within CS3 Production Premium.
Save time and money and be more productive
with Acrobat Connect, the subscription-based
web-conferencing service that enables you to
review creative concepts and other work in
real time with clients and colleagues.
Adobe Dynamic Link
to visually
identify, select, and remove individual sounds
from a spectral display of your waveform.
◆ Use streamlined mastering tools to polish
◆ Automatically detect and fix common flaws
your file, clarify vocals, and give it punch.
in audio recordings such as hisses, hums,
rumbling, crackling, and pops.
◆ Record high-quality mono or stereo audio
◆ Select one of the dozens of included Sound-
Adobe Acrobat Connect
◆ Use tools like those in Photoshop
booth Scores, and then customize it to match
your project. Adjust intensity to match the
visual mood, and change the length to fit.
◆ Enjoy a library of audio filters to help you
achieve your own sound, including reverb,
echo, EQ, time and pitch stretch, distortion,
chorus, and more. Combine up to five effects
using the Effects Rack.
files such as voice-overs with markers and
take numbering.
◆ Create or customize existing audio using
thousands of sound effects available via
Resource Central.
◆ Lay down markers in Soundbooth and export
them as XML or in FLV. Access the markers
through ActionScript language in Adobe
Flash or in the FLV encoder for tasks like
driving animation or creating captions.
Soundbooth CS3 for Macintosh (Mfr # 22012096 • B&H # ADSBCS31M) ........................................................179.95
Soundbooth CS3 for Windows (Mfr # 22012097 • B&H # ADSBCS31W) ...........................................................198.95
Adobe Encore CS3
Enjoy greater freedom to experiment with new
ideas without having to wait for intermediate
rendering. Available only in Creative Suite 3
Production Premium, Dynamic Link allows you
to move smoothly between After Effect and
Premiere Pro or Adobe Encore software:
With unmatched Photoshop software integration and a flexible and intelligent workflow, Adobe
Encore CS3 (included with Premiere Pro CS3) is packed with a rich set of creative tools for DVD
and Blu-ray Disc authoring and SWF export to the web. Available for both Intel-based Mac and
Windows systems, Encore CS3 is the right choice for easy production of full-featured, menu-driven
DVD and Blu-ray projects, on disc and on the web.
◆ Incorporate After Effects motion graphics,
◆ Maintain the pristine quality of your HD video all the way to distribution. Create high-definition
title sequences, and visual effects into your
Adobe Premiere Pro timeline without
rendering. Work with the compositions in
both applications at the same time. Changes
made in After Effects appear immediately in
your Adobe Premiere Pro project.
◆ Use After Effects compositions in Encore for
motion menus without rendering. Work with
the compositions in both applications at the
same time. Changes made in After Effects
appear immediately in your Encore project.
◆ In the past, when using motion graphics or
visual effects in a video or as motion menus
for a DVD, you had to render the composition
before including it in your video application.
With Adobe Dynamic Link, you get a fluid
workflow for integrating After Effects
compositions into their final post-production
context. Now you can deliver higher quality
work under tight deadlines.
Blu-ray Discs with the same interface and features used to create standard-definition DVDs.
◆ With one click, easily create SWF versions of your DVD and Blu-ray Disc projects for the web.
Produce content compatible with Adobe Flash Player software, complete with DVD interactivity
and menus, without opening another application.
◆ Create menus in Photoshop file format, using Photoshop technology built into Encore CS3. Edit
menus in Photoshop and see your changes instantly in DVDs, Blu-ray Discs, and SWF projects.
Adobe Creative Suite 3 Production Premium:
Combines Adobe Dynamic Link, Adobe Bridge CS3, Adobe Device Central CS3, and
Adobe Acrobat Connect with:
Adobe After Effects CS3 Professional (page 1028), Adobe Premiere Pro CS3 (page 1032), Adobe
Illustrator CS3 (page 1035), Adobe Flash CS3 Professional (page 1036), Adobe Photoshop CS3
Extended (page 1038), Adobe Soundbooth CS3 and Adobe Encore CS3. Windows versions also
include Adobe OnLocation CS3 (Windows only) and Adobe Ultra CS3 (Windows only).
CS3 Production Premium for Windows (Mfr # 29600055 • B&H # ADPPCS33WQ)..................................CALL
CS3 Production Premium for Macintosh (Mfr # 19600055 • B&H # ADPPCS33MQ) ...............................CALL
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COMPUTER VIDEO
ADO BE
CREATIVE SUITE 3.3 MASTER COLLECTION
Highly Integrated Tools for
Designing Content Across Media
Creative Suite 3.3 Master Collection features highly integrated, exceptionally productive
tools for designing content across media. Provides design professionals with all the tools
they need for print design and production as well as tools to expand their skills — and
business — into web, interactive, mobile, and even video design and production.
Web design professionals can create more compelling and dynamic websites by incorporating
high-quality motion graphics and video in your designs, and move beyond the web to
design print, video, and mobile content. Film and video professionals can tell compelling
stories in virtually any medium. Showcase your work in high-quality, standards-based
output, promote your work in print and on the web, and increase production values on ever-shrinking budgets.
F EATURES
◆ Discover new levels of creative opportunity
and efficiency with all-new versions of
professional Adobe tools for print, web,
interactive, film, video, and mobile design.
◆ Expand your technical skills without break-
ing your budget. Adobe Creative Suite 3
Master Collection software combines the
best of the Design Premium, Web Premium,
and Production Premium editions into one
value-packed offering.
◆ Publish content to multiple media. Preview
Photoshop, Flash, or Illustrator artwork for
mobile devices using Device Central. Prepare
audio in Soundbooth, and then layer it over
video in Adobe Premiere Pro — and export
the result as FLV for use on a website.
◆ Repurpose InDesign layouts using XML, and
export InDesign layouts as XHTML to open in
Dreamweaver. Master Collection makes it
easy to leverage your content for various
final media.
◆ Produce rich, engaging content that can be
freely deployed on the web and on a wide
variety of mobile and other devices. Quickly
copy motion to ActionScript 3.0 language to
hand off to a developer working with Flash,
or use scripts to automate tasks across
components of the software. Master
Collection offers robust features for
producing and deploying cutting-edge
content as well as improving efficiencies
between designers and developers.
◆ You'll also find learning resources, CSS-based
web page starting points, animation presets,
and other support for quickly getting highquality results in design disciplines you’re
just starting to explore.
◆ Simplify installation and software manage-
ment using a single installer and serial number. Install all components at once, or install
only those you most need now, and add additional components later.
Highly Efficient Integration
Work more productively than ever thanks to the exceptional integration of the tools in Master
Collection. Come up to speed quickly with the help of the consistent interface across many of
the creative tools — including the new Adobe-standard interface in Flash — and easily
exchange native file formats to streamline content creation across design disciplines.
Import layered Photoshop files into Illustrator, InDesign, Fireworks, Flash, After Effects, Adobe
Premiere Pro, and Encore, or copy and paste from Photoshop to Dreamweaver. Export InDesign
files as XHTML to jump-start web designs in Dreamweaver. Paint video layers in Photoshop CS3
Extended, and then export to a variety of video formats, including FLV, to incorporate into a
website or an After Effects or Adobe Premiere Pro project. And much more.
www.bhphotovideo.com
Applications
◆ Professional page layout, image editing,
vector illustration, and print production.
◆ Website design, development, prototyping,
and blogging
◆ Creation of rich interactive content
◆ Industry-standard visual effects and motion
graphics
◆ Video capture, editing, and production; DVD
titling; and digital audio
◆ Whether you need to produce brochures,
compelling websites, rich interactive
experiences, engaging mobile content, or
stories told through motion and sound, find
the perfect mode of expression for your
ideas with Master Collection.
◆ Venture into new creative territory with
Master Collection, which offers everything
you need to excel in your core discipline
as well as meet changing customer
requirements and expand your creative
business in new directions.
◆ Master Collection meets the most rigorous
output criteria, from high-quality print to
high-definition video. It offers the
professional output options needed for
every design discipline, from print to web
to video. Adobe's ongoing focus on open
standards means your work can easily go
wherever you want.
COMPUTER VIDEO
A D O BE
1043
CREATIVE SUITE 3.3 MASTER COLLECTION
Includes everything in
CS3 Production Premium, PLUS—
Adobe InDesign CS3
Explore more creative possibilities and experience new levels of productivity
using InDesign CS3 page layout software. Built for demanding workflows, it
ntegrates smoothly with Photoshop, Illustrator, Acrobat and Dreamweaver.
Powerful features for creating rich, complex documents; and reliably outputs
pages to multiple media. Sophisticated design features and enhanced tools
for streamlining repetitive tasks lets you work faster and better than ever.
Creative Suite 3
Production Premium
Creative Suite 3.3
Master Collection
✓
InDesign 3
Photoshop CS3
Extended
✓
✓
Illustrator CS3
✓
✓
✓
Acrobat 9 Pro
Flash CS3 Professional
✓
✓
Dreamweaver CS3
✓
Fireworks CS3
✓
Adobe Acrobat 9 Pro
Contribute CS3
✓
Tightly integrated into four editions of CS3.3, Acrobat 9 Pro enables you to
create richly expressive PDF files, collaborate more effectively with clients and
colleagues, and confidently prepare files for high-end print production. Add
content created in Adobe Flash software to your PDF files for more engaging
interactive communications. Streamline your work with shared PDF reviews,
and deliver high-quality print projects using enhanced preflight tools.
After Effects
CS3 Professional
✓
✓
Premiere Pro CS3
✓
✓
Soundbooth CS3
✓
✓
Encore CS3
✓
✓
Adobe Dreamweaver CS3
Easily design, develop, and maintain websites and web applications — from
start to finish. Built for both designers and developers, Dreamweaver CS3
offers the choice of working in an intuitive visual layout interface or a
streamlined coding environment. Intelligent integration with Photoshop CS3,
Illustrator CS3, Fireworks CS3, Flash CS3 Professional, and Adobe Contribute
CS3 software ensures efficient workflow across your favorite tools.
Adobe Fireworks CS3
Fireworks CS3 is the ideal tool for creating and optimizing images for the web
and rapidly prototyping websites and web applications. Offers the flexibility
to edit both vector and bitmap images, a common library of prebuilt assets,
and timesaving integration with PhotoshopCS3, Illustrator CS3, Dreamweaver
CS3, and Adobe Flash CS3. Mock up designs quickly in Fireworks, or leverage
other assets from Illustrator, Photoshop, and Flash. Then move directly into
Dreamweaver CS3 for easy development and deployment.
Shared Features, Services and Applications
Bridge CS3
✓
✓
✓
Version Cue CS3
Device Central CS3
✓
✓
Acrobat Connect
✓
✓
Dynamic Link
✓
✓
On Location CS3
(Windows Only)
✓
✓
Ultra CS3
(Windows Only)
✓
✓
InDesign CS3 for Mac (Mfr #17510933 • B&H # ADIDCS35M)...................699.00
InDesign CS3 for Windows (Mfr #17510933 • B&H # ADIDCS35M) ........699.00
Dreamweaver CS3 for Mac (Mfr # 38040348 • B&H # ADDWCS39M) ....398.95
Dreamweaver CS3 for Win (Mfr # 38040334 • B&H # ADDWCS39W) .....398.95
Adobe Contribute CS3
Contribute CS3 enables content authors to easily update existing websites
and blogs while maintaining site integrity — with no technical expertise
required. Thanks to a true WYSIWYG authoring environment, content authors
and contributors can edit or update any website or blog without having to
learn HTML.
Adobe Version Cue CS3
With Version Cue CS3, you can centrally manage shared project files, work in
parallel with others using an intuitive version control system, track file status
with comments, use Adobe Bridge to find files visually, search for XMP
metadata, and host Adobe PDF reviews. Seamlessly integrated with specific
Creative Suite 3 components, Version Cue helps creative workgroups easily
manage shared project files — without leaving the design environment.
Fireworks CS3 for Mac (Mfr # 38039926 • B&H # ADFWCS39M) ..............298.95
Fireworks CS3 for Windows (Mfr # 38039927 • B&H # ADFWCS39W) ...298.95
Contribute CS3 for Mac (Mfr # 38040285 • B&H # ADCCS34.1M) .............168.95
Contribute CS3 for Win (Mfr # 38040286 • B&H # ADCCS34.1W) .............168.95
Creative Suite 3.3 Master Collection for Windows: Includes CS3
Production Premium (page 1041), plus Adobe InDesign CS3, Adobe
Acrobat 9 Pro, Adobe Dreamweaver CS3, Adobe Fireworks CS3,
Adobe Contribute CS3 and Adobe Version Cue CS3.
Creative Suite 3.3 Master Collection for Macintosh: Includes CS3
Production Premium (page 1041), plus Adobe InDesign CS3, Adobe
Acrobat 9 Pro, Adobe Dreamweaver CS3, Adobe Fireworks CS3,
Adobe Contribute CS3 and Adobe Version Cue CS3.
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1044
COMPUTER VIDEO
A JA
KONA LSE • KONA LS
SD Capture Card for Macintosh
KONA cards are the preferred choice for performance and stability in the
broadcast industry. Now, with KONA LSe, everyone can enjoy the rich
features, rock-solid video/audio and factory support that exemplify
AJA products. The affordably priced LSe is the perfect video capture and
playback card for building a professional standard definition editing system.
Configured with a Apple Mac Pro or G5, RAID storage, computer display and video
monitor - along with Final Cut Pro - it achieves the same editing quality as an expensive turnkey suite.
Kona LSe offers full featured SD connectivity: analog video input/output that can be configured as component, composite
or S-Video,10-bit resolution SDI input and output with multi-channel embedded audio support, analog balanced audio
input/output, and AES balanced digital audio input/output.
AJA offers direct integration with Final Cut Pro, as well as support for software applications like Adobe After Effects, Motion
and more. KONA LSe can capture to QuickTime at uncompressed10-bit 4:2:2 or 8-bit 4:2:2 and allows ingest from—and
mastering to— BetacamSP, Digital Betacam, DVCPro50 and other standard definition VCRs. Also supports capture and
playback from compressed SD formats like DV and DVCPro50, to provide the most flexibility for your SD workflows.
F EATURES
KONA Desktop
◆ 12-bit SD component, composite or S-video
analog input/output
◆ SDI input and 2 SDI outputs
◆ AES digital audio input/output; hardware
sample rate conversion on input
(2 channel, balanced XLR) eliminates
source synchronizing requirements.
◆ Balanced analog audio I/O (2 channel,
balanced XLR)
◆ 8-channel SDI embedded audio support
◆ Broadcast-quality TBC with VHS support
Most users run multiple applications to create their video projects. So in addition to Final Cut Pro
or After Effects standard video output support, the KONA cards allow broadcast design elements
to be viewed with the proper aspect ratio and color depth on a broadcast monitor via the KONA
card in Macintosh Desktop mode. KONA Desktop output supports Adobe Photoshop, Apple
Shake, Autodesk Combustion.
AJA also includes additional software utility applications with the KONA software driver
installation to make post-production tasks easier: the AJA Data Rate Calculator which can be
used to calculate the amount of storage required for your selected format, frame rate, and
compression and the AJA KONA System Test, which can be used to benchmark the performance
of your drives and more. AJA’s installer also includes KONATV, an application for playing back
QuickTime movies directly out of the KONA video and audio outputs without having to launch
an editorial application.
◆ Genlock and RS-422 machine control
◆ AJA QuickTime drivers
Optional Breakout Box
Kona LSe (Mfr # KONALSE • B&H # AJKONALSE)
PCIe Capture Card with Cables ..................849.95
The optional breakout box for KONA
LSe/LS and LHe/LH simplifies
connectivity in post-production
environments by offering a 19” (1RU)
rack-mountable breakout box that
attaches to the card. The breakout box
offers all the same inputs and outputs
as the standard breakout cable, and
can be easily rack-mounted or placed on top of a monitor or editing console. Additional
functionality over the standard breakout cable comes in the form of BNC AES input/output
connectors, 2-channel RCA analog audio monitoring jacks, and looping BNC Genlock reference
connectors. If you’re using an analog Betacam SP, Digital Betacam, DVCPro50, or for the KONA
LHe, a DVCPRO HD, HDV, HDCAM or D5 deck—you’ll have the proper connections.
Kona LS (Mfr # KONALS • B&H # AJKONALS)
PCI/PCI-X Capture Card with Cables ........849.95
KL-Box-LH (Mfr # KLBOXLH • B&H # AJKLBOXLH): Breakout Box for Kona-LSe .......................................... 289.95
KL-Box (Mfr # KLBOX • B&H # AJKLBOX): Breakout Box for Kona-LS .........................................................................259.95
◆ Support for Final Cut Pro, After Effects,
Combustion, Motion, and more
◆ Supports all popular standard definition
formats: 8- and 10-bit uncompressed, JPEG,
DV25, DV50 and more
◆ 3-year warranty
◆ Available in PCIe as KONA LSe or
PCI/PCI-X
compatible form as KONA LS
www.bhphotovideo.com
COMPUTER VIDEO
A JA
1045
KONA LHE • KONA LH
SD/HD Capture Card for Macintosh
Stepping up from the LSe, the KONA LHe offers a full ride to HD with a host
of no-compromise features:10-bit uncompressed video, 2-channel AES and
8-channel SDI embedded digital audio, analog composite/component
video I/O, 2-channel balanced analog audio I/O, and broadcast-quality
hardware down-conversion A lot of card for a low price, LHe also features
dual-monitor desktop viewing for editing ease, TBC on analog inputs and comes
standard with a breakout cable. For convenience, an optional KL-Box-LH for rackmounted I/O
is available. Like the KONA LSe, the LHe hardware-based flexible connectivity allows capture to QuickTime at10-bit and
8-bit uncompressed formats as well as DVCPRO HD, DV50, DV25, and more.
In addition to perfection in video, KONA LHe offers all the audio support you’d ever want: native OS X multi-channel audio
and 24-bit AES/EBU digital audio at 48kHz for digital production. For ease of use, KONA LHe also includes hardware samplerate conversion on AES inputs - eliminating source synchronizing requirements. Because of it’s unique HD/SD analog I/O,
KONA LHe is perfect for not only uncompressed and Apple ProRes 422, but also HDV and other diverse workflows.
F EATURES
◆ SDI/HD-SDI single link 4:2:2 input/output
KONA LHe Hardware Acceleration
◆ 12-bit HD analog component input/output
◆ 12-bit SD analog component, composite, or
S-Video input/output
◆ 10-bit hardware based-realtime
◆ HD to SD down-conversion
◆ DVCPRO HD and HDV hardware acceleration
◆ Dynamic RT Extreme hardware acceleration
◆ 2 independent SDI/HD-SDI outputs—
configure one for HD and the other for SD
◆ 2-channel balanced XLR AES digital audio
and 2-channel balanced XLR analog audio
input/output
◆ 8-channel SDI embedded audio I/O
◆ HD/SD Genlock and RS-422 machine control
◆ Suppport for Final Cut Pro, Motion, After
Effects, Combustion, and more
◆ 3-year warranty
◆ Available in PCIe as KONA LHe or PCI/PCI-X
compatible form as KONA LH
Kona LHe (Mfr # KONALHE • B&H # AJKONALHE)
PCIe Capture Card with Cables...................1549.95
Kona LH (Mfr # KONALH • B&H # AJKONALH)
PCI/PCI-X Capture Card with Cables ....1529.95
KL-Box-LH (Mfr # KLBOXLH • B&H # AJKLBOXLH)
Breakout Box for Kona-LHe and LH........... 289.95
Final Cut users will love the DVCPROHD, HDV, and Apple RT Extreme
hardware acceleration available on the LHe. It takes part of the codec
processing load off the CPU, allowing more RealTime (RT) effects in
Final Cut Pro when outputting. LHe also has hardware support when
capturing, bringing amazing RealTime HD production power to the
desktop. With KONA LHe, any source can be captured using the
DVCPROHD codec - giving you online HD quality at remarkably low
data rates, allowing the internal Mac Pro or SATA storage to be used
for HD capture, playback and RT effects. Of course, you get better
performance with a SCSI or Fibre array, but this allows HD to be
used where only SD would have been considered because of money
or time. LHe even supports DVCPROHD and HDV codecs with
downconversion - allowing projects to be converted to SD.
Because KONA’s precision hardware does part of the work, the Mac Pro has more time available
to process RT effects. This means more RT-effects power and more RT streams. DVCPROHD and
HDV codes use a two-step process. The video is first scaled to a lower horizontal pixel count, and
then the video is compressed. LHe’s hardware dramatically speeds up the scaling part of the
job—with full 10-bit broadcast quality. When using the Final Cut Pro HDV codec, allows
instantaneous RT playback for both monitoring and recording. Even KONA’s downconverter
works in realtime with HDV, allowing SD monitoring, dubs or mastering.
For Final Cut Pro’s Dynamic RT feature, KONA’s hardware is used to offload the video scaling as
the “Playback Video Quality” dynamically adjusts. This allows more playback power - and because
KONA handles it seamlessly, the Dynamic RT you see on the Mac monitor is the same as that
shown on your professional broadcast monitor.
With sufficient storage solution, you can handle up to 16 sources in realtime. Each stream of
video is captured individually and then ganged together in Final Cut Pro for a multi-cam editing
workflow. KONA LHe seamlessly plays the multi-cam clips out to monitors or decks via SDI,
HD-SDI or component video. Up to 16 sources can be viewed in realtime (4-, 6-, 9-, 16-up etc.), or
each individual source can be viewed as it is selected via Final Cut Pro.
(212) 444-6601• 1-800-947-9901• Quick Dial 831
COMPUTER VIDEO
1046
A JA
KONA 3 • KONA 3X
Capture Card for Uncompressed SD,
HD, 2K and Dual Link HD
The top-of-the-line KONA 3 card has all the features you need: uncompressed
video, 8-channel AES digital audio and16-channel SDI embedded audio support,
realtime hardware-based up/down/crossconversion for efficiently working with SD
and HD formats, SD to SD aspect ratio conversion, hardware downstream keyer, plus HD/SD
component analog output. Available as a state-of-the-art 4-lane PCIe (KONA 3) or PCI-X133MHz (KONA
3X) card, the KONA 3 is designed to be the tool of choice for your post-production workflow. It offers integrated and easy to
use support for Apple’s Final Cut Pro software plus hardware scalar acceleration for the DVCPRO HD and HDV codecs as
well as Dynamic RT Extreme effects within KONA 3 supports a wide variety of uncompressed SD and HD formats, including
high bandwidth Dual Link and 2K formats. It captures and plays back uncompressed10-bit and 8- bit
broadcast quality digital video and 24-bit digital audio, providing unparalleled power and workflow
efficiency to meet today’s broadcast standards. KONA 3 can also capture and playback many
compressed SD and HD formats when disk space or realtime effects might be the biggest concern.
Because KONA 3 is more than just an input/output card, it also includes a variety of10-bit broadcastquality features, such as hardware-based up-, down-, and cross-conversion to and from HD, and
adds a hardware HD/SD keyer for compositing graphics like logos or bugs. With the hardware
downstream keyer, waiting for a graphic or logo to render in software can become a mere memory.
F EATURES
◆ SDI/HD-SDI single link 4:2:2, Dual Link HD-SDI
4:4:4, and 2K input/output support via HSDL
◆ HDV, DVCPRO HD
and Dynamic RT Extreme
hardware scalar acceleration
◆ Broadcast-quality hardware based 10-bit
up-, cross- and down-conversion
◆ SD-SD hardware-based aspect ratio conversion
(anamorphic to letterbox & vice versa)
◆ 12-bit SD and HD component output or SD
composite plus Y/C analog outputs
◆ 10-bit HD/SD video+key output
◆ Internal HD/SD hardware based downstream
keyer
◆ 8-channel 24-bit digital AES at either 48kHz
or 96kHz via XLR, or 16-channel of 48kHz SDI
embedded audio
◆ QuickTime driver and additional applications
included with the software installer
◆ Suppport for Final Cut Pro, Motion,
After Effects, Combustion, and more
◆ RS-422 machine control
◆ Optional breakout box
◆ 3-year warranty
Dual Link
KONA 3 supports Dual Link 4:4:4 HD-SDI, with full bandwidth 4:4:4 RGB at 10-bits for 1080i,
1080p, 1080PsF and 720p formats. KONA 3 can also convert between 4:4:4 and 4:2:2 formats
for single link HD-SDI monitoring and output.
Broadcast-Quality Conversion
KONA 3 features full 10-bit, broadcast-quality, motion adaptive SD to HD up-conversion, HD
to HD cross-conversion, HD to SD down-conversion, and automatic HD/SD 12-bit component
analog output. That’s the equivalent of rolling AJA’s stand-alone HD D/A converter, HD to SD
down-converter, and SD to HD up-converter into one convenient, cost-efficient KONA 3
board — at half the price. The quality is identical to AJA’s award-winning stand-alone products,
and all functionality is hardware-based, making it available full time, all the time, on digitize
or playback. KONA 3 will address your varied delivery needs with support for hardwarebased 1080-to-720 or 720-to-1080 cross-conversion. Uniquely, the KONA 3 can even crossconvert 720P 23.98 to 1080PsF 23.98. Cross-conversion streamlines dailies and deliverables
creation at true broadcast picture quality in realtime. KONA 3 also offers SD to SD aspect
ratio conversions meaning that anamorphic SD can be converted to letterboxed SD or vice
versa—yet another measure of the power and flexibility of its hardware based conversions.
Internal SD/HD Hardware Downstream Keyer
Available for the first time on any QuickTime capture card is a powerful hardware downstream keyer that can place graphic files with an alpha channel over the video being input
to the board—or a selectable color matte, or the contents of the card’s frame buffer (KONA
TV/Final Cut Pro). The downstream keyer can also key a QuickTime clip that has an alpha
channel— a flying logo perhaps— by playing it in the KONA TV application over live video
coming into the card.
www.bhphotovideo.com
COMPUTER VIDEO
A JA
1047
KONA 3 • KONA 3X
2K
As the most full featured 2K capable card on the Mac platform, you can use KONA 3 to ingest from HSDL (high speed data link) equipped
sources and record simultaneous 2K DPX files and 2K QuickTime reference movies. Material can be played out at 2K via HSDL, offering further
synergy with other 2K products available such as digital disk recorders and 2K projectors. Additionally, KONA 3 allows 2K files to be viewed
with a user selected crop function on HD 1080PsF supported video monitors. This functionality helps lower the price barrier for viewing 2K
material. The 1080 HD playout can also be down-converted to SD in realtime, giving users a powerful solution for multi-format video playout
of 2K material and flexible tape mastering options. Offline editing can be done in Final Cut Pro and, because of the flexibility of Final Cut Pro
and QuickTime, even a 2K conform on the Mac is possible using the KONA 3.
KONA 3
KONA LHe
KONA LSe
SD (NTSC and PAL)
yes
yes
yes
HD (720p, 1080i, 1080sf )
yes
yes
-
2K (2048x1556, 2048x1080)
Dual-Link HD, 2K HSDL, 4:4:4 RGB
yes
-
-
HD to SD Down-conversion
(10-bit, in hardware)
yes
yes
-
SD to HD Up-conversion
(10-bit, in hardware)
yes
-
-
HD to HD Cross-conversion (1080
to/from 720, 10-bit, in hardware)
yes
-
-
12-bit Analog Video (Component,
Composite, and Y/C)
output
SD/HD
input/output
SD/HD
input/output
SD
10-bit SDI Digital Video (BNC)
input/output SD/HD
Analog Audio (balanced XLR)
-
input/output SD
input/output 2 channel
AES Digital Audio
(balanced XLR)
input/output
8-channel
input/output
2-channel
input/output
2-channel
Embedded SDI Audio
(via BNC)
input/output
16-channel
input/output
8-channel
input/output
8-channel
Professional Genlock
yes
yes
yes
RS-422 Machine Control
yes
yes
yes
DVCPRO HD Hardware Scaling
Acceleration (in FCP)
yes
yes
-
HDV Hardware Scaling
Acceleration (in FCP)
yes
yes
-
Dynamic RTExtreme Hardware
Scaling Acceleration (in FCP)
yes
yes
-
Optional 1RU Breakout Box
yes
yes
yes
PCIe and PCI-X Available
yes
yes
yes
3-year AJA Warranty
with Advanced Exchange
included
included
included
Kona 3:
12/10-bit analog/SDI, HD-SDI, dual link HD-SDI 4:4:4, HD and SD video
editing PCIe capture & output card with SD-HD, and HD-SD up/downconversion support.
(Mfr # KONA300 • B&H # AJKONA3) ....................................................................2549.95
KONA 3x:
12/10-bit analog/SDI, HD-SDI, dual link HD-SDI 4:4:4, HD and SD video
editing PCI-X capture & output card with SD-HD, and HD-SD
up/down-conversion support.
(Mfr # KONA-3X-R0 • B&H # AJKONA3X) .............................................................2549.95
K3-Box Breakout Box for KONA 3:
19”, rack-mountable breakout box attaches to the KONA 3 with just
5 cables. This box offers all the same inputs and outputs as the
standard breakout cable, and can be easily rack-mounted or placed
on top of a broadcast monitor or editing desk. The box offers XLR
and BNC AES output, 2-channel RCA analog audio monitoring, and
looping BNC Genlock reference connectors. You can independently
switch between HD and SD with the K-box since there are two HD/SD
SDI video outputs and a component analog output. With this feature
SD analog can be configured as composite.
(Mfr # K3BOX • B&H # AJKBOXK3) .........................................................................268.50
Turnkey System
AJA KONA 3 Mac Pro Turnkey System with Final Cut Studio 2
System includes 3.0 GHz eight-core Mac Pro; 4GB RAM; 1TB hard
drive; 4TB PRO DQ Array; KONA 3 with Breakout Box; Boris Graffiti 5.2;
Final Cut Studio 2; AppleCare (B&H# AJKONA3TF) .........................................Call
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1048
COMPUTER VIDEO
A JA
XENA/LSE
SD Capture Card for Windows
Running on Windows and supporting Adobe CS3 Production Premium,
along with a wide variety of 3rd-party software, the XENA LSe is designed
for serious editing, graphics and design professionals.
The affordably priced XENA LS is the perfect solution for capture, playback
and printing video for non-linear editing and visual effects/motion graphics.
It features AJA-quality standard-definition video capture and playback, rock-solid
video/audio, and factory support that exemplify all AJA products. XENA LS supports10-bit resolution
SMPTE SDI, using a choice of many formats (TGA, TIFF, BMP, AVI or QuickTime). It also has great audio I/O support:
2-channel balanced XLR analog, 2-channel balanced XLR AES and multi-channel embedded SDI audio. Hardware
sample-rate conversion on AES inputs eliminates source synchronizing requirements. An optional breakout box provides
all the standard features of a cable in an easy-to-use1RU rackmount panel.
F EATURES
AJA Machina
◆ 12-bit component, composite and S-Video
analog input/output
◆ SDI input, 2 independent SDI outputs
◆ AES I/O, sample-rate conversion on input
(2-channel, XLR)
◆ Balanced analog audio I/O (2-channel, XLR)
◆ 8-channel SDI embedded audio support
◆ Broadcast-quality TBC with VHS support
◆ Support for TGA, TIFF, BMP, AVI and
QuickTime files
◆ Support for all popular standard definition
formats (NTSC and PAL)
◆ Reference input (for genlock) and RS-422
machine control on the breakout cable and
the optional breakout box
◆ AJA Machina software
AJA Machina is a powerful stand-alone capture/playback
application with full VCR machine control. Bundled with
all XENA cards, full access to any and all XENA supported
file formats, video standards and conversions is presented
in an easy-to-use interface. Captured files can then be
imported into virtually any software package that
supports these XENA file formats, such as compositing,
3D animation, audio editing programs and much more.
With Machina, you can also output to tape the files exported from these same programs.
Machina offers vast array of uncompressed capture options ranging from Quicktime to DPX. It
give users with the ability to choose from many capture options including bit depth, colorspace,
and audio capture options. Machina can also output in all the same formats which it can
capture. All these capture and output options are complimented with deck control.
Machina has great desktop preview features. Preview files full screen on the desktop display at
various zoom levels, creating an alternative for frame by frame viewing when only one monitor
is available. It also gives users the power to apply 1D LUT’s on output, to output video+key for
monitoring or mixing, and to key in static graphics on selected XENA cards. Use Machina to tap
your XENA card’s format conversion abilities during capture, output, or monitoring.
◆ AJA plug-in support for Adobe Premiere Pro
CS3, Adobe After Effects CS3, Photoshop CS3
Autodesk Combustion 4, and Eyeon Fusion 5.
◆ XENA 3rd-party support for Sony Vegas
◆ Optional rackmounted breakout box
◆ 3-year warranty
XENA LSe (Mfr # XENALSE • B&H # AJXENALSE)
PCIe capture card with cables ........................859.95
XENA LS (Mfr # XENALS • B&H # AJXENALS)
PCI/PCI-X capture card with cables ............859.95
KL Box (Mfr # KLBOX • B&H # AJKLBOX)
Breakout Box for Xena LS/LSe ........................259.95
Supplied Cables and Optional Breakout Box
The XENA/LSe includes cables to connect to almost any device.
For additional flexibility, the optional KL-Box breakout box
further simplifies connectivity in professional post-production
environments. The 19” 1RU rack-mountable box attaches directly
to the XENA card using supplied cables. The breakout box offers
all the same inputs and outputs as the standard breakout cable,
and can be rack-mounted or placed on top of a broadcast monitor or editing console.
Additional functionality over the breakout cable comes in the form of BNC AES I/O connectors,
2-channel RCA analog audio
monitoring jacks, and looping
BNC genlock reference
connectors. If you’re using an
analog BetacamSP, Digital Betacam or DVCPro50 deck you’ll always have the proper connections.
www.bhphotovideo.com
COMPUTER VIDEO
A JA
1049
XENA/LHE
SD/HD Capture Card for Windows
The XENA LHe offers a full ride to HD with no-compromise10-bit and 8-bit
uncompressed video, 2-channel AES and 8-channel embedded audio,
analog composite/component video I/O, 2-channel analog audio I/O,
10-bit broadcast-quality hardware HD to SD down-conversion and TBC
on analog inputs. XENA LHe bridges the analog and digital worlds by offering
I/O for both.
XENA LHe comes standard with a breakout cable and also works with the optional
KL-Box for rackmounted I/O convenience. XENA LHe provides optimum quality for SD and HD—
the maximum allowed in SMPTE SDI standards. Using many user-selected formats—DPX, Cineon, TGA, TIFF, BMP, YUV, AVI
or QuickTime—XENA LH captures directly to disk. In addition to top quality video, XENA LHe supports multi-channel audio
and16/24/32-bit AES/EBU digital audio at 48kHz for digital production. For ease of use, XENA LHe also includes hardware
sample-rate conversion on AES inputs—eliminating source synchronizing requirements.
XENA LHe is perfect for many diverse workflows, including capture from analog component connections from HDV cameras that allow direct ingest of HDV-acquired material into uncompressed or any other supported file format. These12-bit
analog inputs and outputs, in addition to10-bit digital I/O’s, ensure that XENA LHe can interface to almost any Single-Link
SDI or analog HD or SD device you throw at it. Monitor HD files on an SD monitor. Make analog or digital SD tape masters
from an HD project. Awesome workflow capabilities are yours with XENA LHe.
F EATURES
Step-up Features
from the XENA LSe
XENA HS
◆ 10-bit uncompressed SD/HD capture card
◆ 12-bit HD analog component I/O
◆ 12-bit SD analog component or compos-
ite/YC I/O
◆ 10-bit hardware HD to SD down-conversion
◆ Native support for DPX, Cineon, TGA, TIFF,
BMP, YUV, AVI and QuickTime files
◆ SDI or HD-SDI input
•◆ 2 independent SDI/HD-SDI outputs
◆ 2-channel balanced XLR AES and 2-channel
balanced XLR analog audio I/O
◆ 8-channel SDI embedded audio I/O
◆ HD/SD Genlock
◆ Available in PCIe and PCI/PCI-X versions
XENA LHe (Mfr # XENALHE • B&H # AJXENALHE)
PCIe capture card with cables .....................1549.95
XENA LH (Mfr # XENALH • B&H # AJXENALH)
PCI/PCI-X capture card with cables .........1549.95
XENA HS was jointly developed with Adobe to deliver
turnkey desktop software and hardware for native
full-resolution capture, editing and playback in SD
and HD. Working via Adobe's Open HD certification
program, Adobe implemented support for AJA’s XENA
HS real-time HD-SDI I/O card in the Adobe Production
Studio, which features a streamlined workflow with
products including After Effects, Photoshop and Premiere Pro.
XENA HS support in Premiere Pro 2.0 allows post-production editors, videographers and
multimedia creative professionals to input and output high-speed, uncompressed digital
audio/video under full control of the Adobe software for integrated capture, playback and
print to tape. With XENA HS, you also get AJA’s own plug-ins for capture, preview and
export within Adobe PhotoShop, and for preview within After Effects.
Running on Windows XP and working under Adobe’s Production Studio software, the
XENA HS supports both HD/SD-SDI I/O for capture and playback. Has one SDI video input,
one SDI video output, as well as support for six channels of AES audio I/O. XENA AES/EBU
audio is 24-bit/48khz. All AES inputs support asynchronous audio at 32-96kHz.
Reference input (BNC) allows you to synchronize outputs to house reference video signal
(or black burst). If you have a sync generator or central piece of video equipment to use
for synchronizing other video equipment in your studio, then connect its composite
output here. When XENA outputs video it locks to this reference signal.
XENA HS (Mfr # XENAHS • B&H # AJXHS) ..................................................................................................859.95
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1050
COMPUTER VIDEO
A JA
XENA/2KE
Capture Card for Uncompressed SD,
HD, 2K and Dual Link HD
AJA’s top-of-the-line card for Windows, the 2KE delivers uncompressed SD, HD,
Dual Link HD and 2K, enabling customers to work in nearly any resolution and in
a flexible and future-safe architecture.
XENA 2Ke’s 4-lane PCI-Express bus interface plus integrated AJA drivers and plug-ins, team
up perfectly with Windows and a
wide variety of applications such as Adobe Premiere Pro,
After Effects, Combustion, and Fusion, to give you
unparalleled power and efficiency. XENA 2KE captures
and plays back uncompressed10-bit and 8-bit digital
video and 24-bit 48kHz digital audio in SD (standard
definition, single-link and dual-link HD (high definition),
D-Cinema, and full frame 2K via HSDL.
F EATURES
Step-up Features
from the XENA LHe
◆ SDI, HD-SDI, Dual Link SD and HD-SDI 4:4:4,
and 4:4:4:4, HSDL
Dual Link
XENA 2K supports Dual Link 4:4:4 HD-SDI devices such as Sony HDCAM SR Decks, ARRI D-20 or
Thompson Viper cameras. XENA 2K Dual Link supports full bandwidth 4:4:4 RGB at 10-bits for
1080i, 1080p, and 720p formats. XENA 2K can also convert between 4:4:4 and 4:2:2 formats for
Single Link HD-SDI output.
◆ 2K frame format support
◆ HSDL support
◆ Look Up Table support (LUT)
◆ Broadcast-quality hardware based 10-bit up-
convert, down-convert and cross-convert
◆ 12-bit HD component and SD compo-
nent/composite analog output
◆ 8-channel 48/96Khz AES, and 16-channel
Broadcast-Quality Conversion
XENA 2K features full 10-bit, broadcast-quality, motion adaptive SD to HD up-conversion, HD to
SD down-conversion, HD cross-conversion and automatic HD/SD 12-bit component analog output. In addition to all these conversion features, XENA 2K can also do SD to SD aspect ratio conversions from 4:3 to 16:9 and vice versa. The quality is identical to AJA’s award-winning
stand-alone products, and all functionality is hardware-based, making it available full time, all the
time, on digitize or playback. XENA 2K will address your needs with support for hardware-based
1080-to-720 or 720-to-1080 cross-conversion. This powerful feature further streamlines dailies
and deliverables creation at true broadcast picture quality in realtime.
embedded SDI audio support
Flexible I/O
◆ Downstream keying support for overlay of
static graphics in Machina
◆ 12- bit SDI capture and output support in
RGB (at 1920 x 1080p 23.98 only)
◆ Video + Key output
◆ Optional K3-Box breakout
XENA 2KE (Mfr # XENA 2KE • B&H # AJXENA2KE)
PCIe capture card with cables .....................2669.95
XENA 2K (Mfr # XENA 2K • B&H # AJXENA2K)
PCI/PCI-X capture card with cables .........2669.95
XENA 2KE boasts 2 HD/SD SDI video inputs and outputs
and one component analog output, each independently
switchable between HD and SD (SD analog can be
configured as composite). For example, if you are working
in HD, you can have simultaneous HDSDI, SDI, and HD or
SD component analog output. Using XENA 2KE’s full-time format conversion features, monitoring
can be as simple as a single composite monitor for both SD and HD projects. Dual Link can be
monitored via Dual Link HD-SDI outputs, Single Link HD-SDI, or HD component analog.
When you plug in XENA 2KE’s breakout cables, they automatically configure. For SDI video, the
card features 2 HD/SD inputs and 2 outputs for Single or Dual Link, one connection for Genlock
input, and 3 for HD/SD component analog video out. A 9-pin D-connector is included for RS-422
machine control. SDI inputs and outputs use a separate cable with special mini-BNC connectors
on one end and full-sized BNCs on the other for ease of connection and superior reliability.
www.bhphotovideo.com
COMPUTER VIDEO
A JA
1051
XENA/2KE
2K WORKFLOW
XENA 2K can capture directly from a 2K telecine to disk, eliminating
both the need for tape stock and the process of digitizing tapes for the
nonlinear editor. The additional 2K support in XENA 2K will benefit
large, full-service facilities as well as boutique facilities entering the
2K “film as digital” landscape.
Additionally, XENA 2K allows 2K files to be viewed on HD 1080
24P-supported video monitors, lowering the price barrier for recording
to tape and viewing 2K material. This 1080 HD playout can also be
down-converted to SD in realtime, giving the 2K DI pipeline a powerful
solution for multi-format video playout of 2K material.
2K telecine to XENA 2K saves time and steps in the process by directly
creating 2K DPX, QuickTime, Cineon, AVI, TGA, TIFF or BMP files. XENA
users can capture directly into the format they need and move files immediately into their editing/compositing environment. These same files
can be played out at 2K via High Speed Data Link (HSDL) at 15 fps, offering further synergy with other 2K products already in use in the market.
By generating 2K files during the digitize phase, filmmakers can skip tape
altogether and begin editing from a digital master immediately after the
telecine is complete. Tape capture becomes unnecessary. Offline editing
can be done in Adobe Premiere Pro and because of the flexibility of
Adobe Premiere Pro and Windows, even a 2K online is possible.
XENA
Workflow
XENA 2Ke
XENA LHe
XENA LSe
Audio
SD (NTSC and PAL)
yes
yes
yes
HD (720p, 1080i, 1080sf )
yes
yes
-
2K (2048x1556, 2048x1080)
Dual-Link HD, 2K HSDL, 4:4:4 RGB
yes
-
-
HD to SD Down-conversion
(10-bit, in hardware)
yes
yes
-
XENA 2KE’s extensive audio support makes installation a breeze, working
with 8-channel 24-bit AES audio via XLR (balanced) connections, and
8-channel embedded 24-bit embedded SDI/HD-SDI audio. XENA 2K also
features high-quality input sample-rate conversion on AES inputs, which
eliminates the need for audio source synchronization.
SD to HD Up-conversion
(10-bit, in hardware)
yes
-
-
HD to HD Cross-conversion (1080
to/from 720, 10-bit, in hardware)
yes
-
-
12-bit Analog Video (Component,
Composite, and Y/C)
output
SD/HD
input/output
SD/HD
input/output
SD
10-bit SDI Digital Video (BNC)
Video + Key
Analog Audio (balanced XLR)
input/output SD/HD
yes
-
-
Optional K3-Box for XENA 2K/ XENA 2KE
input/output SD
-
input/output 2 channel
AES Digital Audio
(balanced XLR)
input/output
8-channel
input/output
2-channel
input/output
2-channel
Embedded SDI Audio
(via BNC)
input/output
16-channel
input/output
8-channel
input/output
8-channel
Professional Genlock
yes
yes
yes
RS-422 Machine Control
yes
yes
yes
Native support for DPX, Cineon
yes
yes
-
Native support for TGA, TIF, BMP,
YUV, AVI, and QuickTime
yes
yes
yes
AJA plug-ins for Adobe CS3 and
other 3rd-party Apps.
yes
yes
-
AJA Machina application for
powerful capture/preview output
yes
yes
yes
The K3-Box for XENA 2K/2KE simplifies interfacing by offering a 19”, 1RU
rack-mountable breakout box that attaches to the XENA 2K/2KE with just
two cables. This option offers all the same inputs and outputs as the
standard breakout cable, and can be easily rackmounted or placed on
top of a broadcast monitor or editing desk. Additional functionality
includes simultaneous XLR and BNC AES output, 2-channel RCA analog
audio monitoring, and looping BNC Genlock reference connectors.
XENA 2K/HP xw8600 Turnkey System
Includes Quad-Core 2.83GHz Xeon System; 4GB RAM; 750GB Hard Drive;
4TB Dulce PRO DQ Array; nVIDIA Quadro FX 1700 Graphics; XENA 2K
Capture Card; Adobe CS3 Production Premium; World Tech Specialist
Keyboard and Windows XP Professional. (B&H # AJXENA2KT).........................Call
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1052
COMPUTER VIDEO
A JA
io HD
Portable FireWire-800 Analog/Digital Capture Device
io HD is an effortless to use, transportable plug-in solution for working with HD
and SD in Final Cut Studio 2. With a single FireWire 800 connection, io HD can
easily be connected to a Mac Pro desktop or a MacBook Pro laptop, offering unparalleled video and audio connectivity.
Within its portable and rugged form factor (measures only 8.2 x12 x 4.8” and has
a built-in handle), io HD offers SD/HD analog I/O, SD/HD digital I/O
including HD-SDI and HDMI, balanced analog and digital AES audio, as well as
RS-422, genlock, and even LTC timecode connections. It is also the only device in the
world that supports Apple’s ProRes 422 codec in hardware, enabling true10-bit video editing with a
MacPro or MacBook Pro. Add AJA’s realtime hardware-based10-bit up/down/cross conversions, and you can
work anywhere in SD or HD—all in full-raster10-bit 4:2:2 quality.
F EATURES
io HD Software
Broadcast-Quality Conversions
io HD runs on an AJA-built driver, similar to the
KONA driver, which brings features such as
Core Audio and very low latency capture and
playback. The io HD driver also provides RGB
support, allowing for the direct video output
of applications such as After Effects, Autodesk
Combustion and Apple Motion. Co-developed
with Apple for use with Final Cut Studio 2, Io
HD is a full-featured device delivering powerful
audio/video capture, editing and post-production capabilities— all in an intuitive to use and
integrated system.
io HD features full 10-bit, broadcast-quality,
motion-adaptive SD to HD up-conversion, HD
to HD cross-conversion, HD to SD down-conversion, and HD/SD 12-bit component analog
output. The quality of the io HD’s conversions
is identical to AJA’s award-winning stand-alone
products, and since all functionality is hardware-based, this means that it is available all
the time, on digitize or playback without using
CPU processing like software conversions
would. Supports hardware-based 1080-to-720
or 720-to-1080 cross-conversion.
◆ AJA Control Panel is used to select the input
audio/video source, configure
up/down/cross-conversions and much more.
storage and bandwidth requirements
◆ AJA System Test lets you benchmark storage
such as disk arrays
application with video output.
Rear view of the io HD
Apple ProRes 422 Workflow—in Hardware
◆ 4:2:2 chroma sampling provides high-quality
color definition.
◆ Creates images visually indistinguishable
from the source.
with professional audio gear a breeze.
– Connect io HD to a digital audio mixer or
DAW output with 8-channel 24-bit 48kHz
AES audio via BNC connections.
– Offers 8-channel SDI embedded 24-bit 48kHz
audio for multi-channel audio mastering.
– High-quality input sample-rate conversion
on AES input eliminates the need for audio
source synchronization. You can even input
and output up to 8 embedded channels on
the HDMI inputs and outputs.
Video Connectivity
◆ AJA TV is a simple to use QuickTime viewing
connectivity.
◆ Extensive audio support makes integration
– Balanced analog XLR connections for four
channels are provided along with two
unbalanced RCA connectors for connection
to consumer monitoring devices.
◆ AJA Data Rate Calculator lets you calculating
◆ Allows ProRes 422 to move over FireWire 800
Audio Connectivity
◆ 10-bit sample depth produces images suitable
for color correction and compositing.
◆ I-frame encoding results in easily computer-processed and edited media.
io HD: With three year warranty (Mfr # IOHD • B&H # AJIOHD) .................................................................2999.95
TecNec Rackmount AV Breakout Panel (2U) for io HD (Mfr# HD-BAJA B&H# TEHDBAJA) ....................374.95
www.bhphotovideo.com
◆ Rear panel connectors to directly connect
standard broadcast devices. For SDI video,
the box features two HD/SD inputs and
two outputs, one connection for Genlock
input and a loop-through, and two groups
of three BNCs which may be configured for
component HD/SD analog video input and
output.
◆ HDMI input and output allows interfacing
with low-cost camcorders and HD monitors.
Add to that composite, S-Video, LTC in and
out—and RS-422 machine control and you
can connect to just about anything.
COMPUTER VIDEO
1053
A JA
IO • IO LD • IOLA
Uncompressed Over-Firewire Devices for Final Cut Studio
The Io family provides a simple elegant plug-in
solution for working with Final Cut Pro on a
Mac. With a single FireWire connection, any Io
connects to a Mac Pro, MacBook Pro, or Power
Mac and provides audio and video I/O, connection
to VCRs, Genlock and integrated Final Cut Pro drivers. With the proper FireWire card and external drives, you can even use
Io products with an Apple laptop. Io products are the simple solution for building a Mac-based video finishing system.
Co-developed with Apple, Io products work with Final Cut Pro to provide a seamless non-linear editing experience, with all
the features of proprietary systems - but without the expense and hassles.
Io
Io LA
Io LD
Easy FireWire Installation
Yes
Yes
Yes
Portable
Yes
Yes
Yes
Future Safe (not dependent
on CPU bus standards)
Yes
Yes
Yes
Rackmountable I/O
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
F EATURES
Io Software
◆ The Io family was co-developed with Apple
for use with Final Cut Pro to deliver powerful
video/audio capture, editing and video
production — all in a single, integrated system.
◆ Each Io comes with special Final Cut Pro presets
to facilitate ease of use. The Io driver provides
RGB support, allowing for the direct video
output of applications such as After Effects,
Discreet Combustion and Apple Motion.
Hardware user interface
(LEDs show input status and mode)
Standalone format conversion
(using control panel application)
Does Not Require a PCI/PCI-X slot
Works with a PowerBook Laptop
Io Control Panel
Yes
Yes
Yes
Video analog in
YPbPr/RGB/S/
Composite
YPbPr/RGB/S/
Composite
—
Video analog out
YPbPr/RGB/S/
Composite
YPbPr/RGB/S/
Composite
YPbPr/RGB/S/
Composite
SDI in
10-bit
—
10-bit
SDI out
10-bit
—
10-bit
AES I/O
◆ The stand-alone Control Panel software
application lets users manage the Io as an
“everything in/ everything out” frame
synchronizer. Now the Io can perform as a
stand-alone A/D and D/A converter, SDI
audio mux/de-muxer, and more.
◆ The Control Panel provides simple, at-a-glance
configuration and control capabilities. Flexible
software controls allow users to select input
sources, choose formats, color correct, and
save setting in up to 10 unique presets.
◆ These presets can be recalled at a later time to
instanty reconfigure the Io. Once a preset is
recalled, the Io can be disconnected from
the Mac’s FireWire port and operated as a
stand-alone converter.
◆ When Final Cut is running, the Control Panel
steps aside and automatically lets it take over
the Io, resuming control again when Final Cut
quits. The Control Panel provides a powerful
addition to Final Cut’s capabilities with features
like proc amp and output timing controls.
4-channel XLR
—
—
SPDIF I/O
Optical
—
2-channel Out
A/D/A audio
24-bit
24-bit
24-bit
Analog audio in
4-channel XLR
4-channel XLR
—
Analog audio out
4-channel XLR
4-channel XLR
2-channel XLR
Embedded audio
8-channel
—
8-channel
RGB application support
Genlock
RS-422
Warranty
Yes
Yes
Yes
Looping
Looping
Looping
Yes
Yes
Yes
3-year
3-year
3-year
Io (Mfr # IO • B&H # AJIO) .................................................................................................................................1979.95
Io LA (Mfr # IOLA • B&H # AJIOLA) .....................................................................................................................999.95
Io LD (Mfr # IOLD • B&H # AJIOLD) .....................................................................................................................849.95
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1054
COMPUTER VIDEO
A JA
D-SERIES MINIATURE CONVERTERS
D10CE
D10A
SDI to Analog Component and Composite Converter
Analog Component to SDI Converter
(with Separate Sync Input)
The D10CE provides excellent quality
10-bit conversion of SDI to simultaneous
component and composite video.
Component outputs are user
configurable to Y/Pb/Pr, Betacam, or
RGB (or composite Y/C). The composite
output is configurable to composite
video or sync. The component and
composite outputs are completely independent including optimum
chroma filtering for each and independent pedestal configuration.
The D10CE also features an exclusive PLL jitter filter/memory to reduce
the effects of SDI jitter on the output analog video. This feature, along
with the precision 4x oversampled D/A filters, provides the highest
quality analog outputs including very low phase noise in composite
outputs. The D10CE also provides two re-clocked, loop-thru SDI outputs.
All functions are user configurable via external dip switches.
D10CE (Mfr # D10CE • B&H # AJD10CE) ..................................................................559.95
D10C2
SDI to Analog Component or Composite Converter
The D10C2 provides excellent-quality
10-bit conversion of SDI to analog
component or composite video at low
cost. In component mode, outputs are
user configurable to Y/Pb/Pr, Betacam,
or RGB. In composite mode, it provides
two composite outputs and an S-Video
output. The D10C2 also provides two
re-clocked, loop-thru SDI outputs and a composite sync output
(component mode). All functions are user configurable via external
dip switches.
D10C2 (Mfr # D10C2 • B&H # AJD10C2) ..................................................................449.95
D10AD
Analog Component or Composite to SDI Converter
The D10AD provides excellent-quality
10-bit conversion of analog component
or composite video to SDI (four outputs)
with EDH. The D10AD accepts Y/Pb/Pr,
Betacam, or RGB component inputs or
composite (automatic NTSC/PAL) and
S-Video inputs. The D10AD features a
4-Line Adaptive Comb Filter for highquality decoding of composite sources. The comb filter can be switched
to 2 line or notch modes for minimum delay requirements. Video
format, AGC mode, and color bar generator, and pedestal are user
configurable via dip switches.
D10AD (Mfr # D10AD • B&H # AJD10AD) ................................................................554.95
www.bhphotovideo.com
A favorite of professional video
engineers, the D10A provides superior
quality component-only analog to
10-bit SDI. The D10A is factory-set to
accept either Y/Pb/Pr, Betacam, or
RGB in 525 or 625 line formats,
converting the analog component
signal to 10-bit SDI. The D10A has
three BNC’s for component input, one external sync input, and three SDI
(two loop-through) outputs. Input formats can be reset by internal
jumpers and level/gain controls. Normal/Wide V-blanking.
D10A (Mfr # D10A • B&H # AJD10A) .......................................................................759.95
D10CEA
SDI to Analog Audio and Video Converter
The D10CEA converts SDI video with
embedded audio to 10-bit component
or composite analog video and 4-channel
balanced analog audio. Video outputs
can be configured as YPbPr, RGB,
composite or S-Video. The 4-ch analog
audio outputs can be wired in a balanced
or unbalanced configuration. The 4 audio
output channels can be selected as group 1-4 from SMPTE embedded
audio. Audio level has 4 settings. Audio and video output connections
are available on a 25-pin “D” subminiature connector – a break-out cable
is supplied. All video/audio configuration is done by external dip switch
selection. This versatile, low-cost, miniature monitoring solution also
outputs two re-clocked loop-thru SDI outputs.
D10CEA (Mfr # D10CEA • B&H # AJD10CEA) ...........................................................679.95
D10C
Composite Digital (D2/D3) to Composite Analog,
or SDI to Component Converter
Providing excellent quality 10-bit digital
to analog conversion at low cost, the
D10C is useful for D/A conversion,
high-quality monitoring, or adding an
SDI input to VCRs, workstations, or other
analog video equipment. The D10C
automatically works with component or
composite SDI inputs in 625 or 525 line
formats. Featuring one SDI input with two re-clocked, loop-thru SDI
outputs, the D10C also acts as a distribution amplifier/repeater.
The D10C provides a component analog output for component SDI
inputs (D1), a NTSC output for 525 line composite SDI inputs (D2, D3),
and a PAL output for 625 line composite inputs SDI (D2, D3).
D10C (Mfr # D10C • B&H # AJD10C) ........................................................................684.95
COMPUTER VIDEO
A JA
1055
D-SERIES MINIATURE CONVERTERS
D5D
D5DA
Analog Composite and S-Video to SDI Converter
1x4 SDI Distribution Amplifier
The D5D Decoder provides low-cost, all
digital decoding of analog composite
(NTSC/PAL) or S-Video to SDI. The D5D is
useful for bringing video from time-base
corrected analog composite equipment
into a serial digital environment.
The D5D features selectable 2 or 3 line
adaptive comb filter as well as a crystal
PLL jitter filter/memory to reduce jitter in each of the three SDI outputs.
The D5D decodes the full dynamic range of input video - values below
black and above white are not clipped. In the NTSC mode, the removal
of the 7.5 IRE pedestal can be enabled by external dip switch selection.
D5D (Mfr # D5D • B&H # AJD5D) .............................................................................509.95
D5CE
SDI to Analog Component or Composite Converter
The D5CE provides low cost, all digital conversion of SDI to either
composite or component analog video.
Three analog BNC outputs are user
configurable to cover a wide range of
format combinations including three
composite (NTSC/PAL), one composite
and S-Video, YPbPr, Betacam, or RGB.
The D5CE also features a re-clocked,
loop-thru SDI output. Pedestal and
narrow/wide H/V blanking are user configurable via dipswitches.
◆ User selectable component or
composite/S-Video outputs
◆ Automatic NTSC/PAL selection
Horizontal blanking
component formats
D5CE (Mfr # D5CE • B&H # AJD5CE) ........................................................................319.95
D4E
SDI to Analog Composite Converter
The D4E SDI Encoder provides the
lowest cost all-digital conversion of
SDI to analog composite
(NTSC/PAL). The D4E is useful for
monitoring, level and phase checking, dubbing, etc. Pedestal and
narrow/wide H/V blanking are user
configurable via dip switches. The D4E encodes the full dynamic range
of input video: levels below black and above white are not clipped.
Available
◆ One SDI Input, two
composite/S-Video outputs
D5DA (Mfr # D5DA • B&H # AJD5DA) ...214.95
D5PSW
SDI Protection Switch
The D5PSW accepts 2 SDI inputs, Primary
and Secondary, and automatically
switches to the Secondary input if the
Primary input is not present or is not a
valid SDI signal. An SDI input is
considered valid if a proper SMPTE 259
stream is present. An LED indicator is
Green if both Primary and Secondary are
present, flashing green if the Primary is present but the Secondary is not
present, and Orange if the Secondary is present but the Primary is not.
The D5PSW has 3 SDI outputs.
◆ Cable EQ to 300 Meters
◆ Useful as a repeater and/or DA
◆ Multi color LED status
D5PSW (Mfr # D5PSW • B&H # AJD5PSW) .............................................................419.95
◆ User selectable Vertical/
◆ YPbPr, Betacam, or RGB
◆ Lowest-Cost SDI to NTSC/PAL
The D5DA is a multi-format, 1x4, re-clocking SDI Distribution Amplifier.
It can be used as a low-cost SDI DA or
repeater. The SDI input is re-clocked
and equalized to 300 meters of cable.
In addition, the multi-standard feature
allows the D5DA to automatically adapt
to 143, 177, 270, or 360 Mb SDI inputs
automatically.
◆ Automatic NTSC/PAL selection
◆ Built-in test pattern
◆ Ultra-miniature size mounts
anywhere
D4E (Mfr # D4E • B&H # AJD4E) ...............................................................................214.95
DWP
Miniature Power Supply
A miniature 100-240v, 50/60Hz high
quality power supply for all of AJA’s
stand-alone products. Custom
manufactured for AJA, it is so small it
does not cover the adjacent socket in
power strips. With a 2x power over-rating
and a molded, latching, circular connector
with gold pins, the DWP meets the high
reliability requirements of the professional video industry.
DWP (Mfr # DWP • B&H # AJDWP) .............................................................................37.95
DWP-U In-Line AC Adapter
The DWP-U is an in-line 100-240v,
50/60Hz AC adapter with a universal
input which can accept a power cord
anywhere in the world.
DWP-U (Mfr # DWPU • B&H # AJDWPU).......54.95
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1056
COMPUTER VIDEO
A JA
HD-SERIES MINIATURE CONVERTERS
3GM
HD10C2
3G/1.5G HD-SDI Multiplexer
HD/SD-SDI to Analog Component Converter
The 3GM is versatile and economical
tool for interconnecting dual-link 1.5G
SMPTE372M and 3G SMPTE425M. 3GM
is bi-directional - allowing dual 1.5G to
3G or 3G to dual 1.5G conversion.
Additionally, 3GM’s 3G HD-SDI output
is configurable for SMPTE425M type A
or B. The 3GM can even convert 3G
from/to type A or B. Also provides a monitor output which is a single
link 1.5G HD-SDI. Has a total of two inputs (HD/SD-SD) and three outputs
(3G HD-SDI, HD/SD-SDI). Fully equalizing and re-clocking with jitter
attenuation. Passes all ancillary data.
The HD10C2, AJA’s second generation
HD D/A converter, brings exciting new
features. In addition to being a highquality 10-bit HD converter, it is “dualrate” and works with both HD-SDI and
SDI inputs. For HD-SDI inputs, the
HD10C2 outputs full bandwidth HD
component or VGA-style RGBHV video.
For SDI inputs, component or composite SD outputs are supported.
When connected to a multi-format monitor like the Sony 20L5, the
HD10C2 will automatically provide an image from almost any HD or SD
input format. The HD10C2 also features 2 equalized HD-SDI outputs.
3GM (Mfr # 3GM • B&H # AJ3GM) ...........................................................................849.95
HD10C2 (Mfr # HD10C2 • B&H # AJHD10C2).........................................................759.95
3GDA
1x6 3G/HD/SD Reclocking Distribution Amplifier
The 3GDA is a miniature, low-cost 1x6 3G
HD-SDI/HD-SDI/SDI re-clocking distribution amplifier. Featuring six separately
buffered SDI outputs, the 3GDA provides
automatic input detection, re-clocking
and cable equalization.
3GDA (Mfr # 3GDA • B&H # AJ3GDA) ........589.95
HD10A
HD Analog to HD-SDI Converter
The HD10A is a miniature, high-quality,
10-bit analog to digital converter for
HDTV. A companion to the popular
HD10C D/A converter, the HD10A can
add an HD-SDI output to cameras,
computers with HD RGB graphics, VTRs,
or other analog-only HD equipment.
The HD10A accepts HD YPbPr or RGB
analog and outputs three duplicate HD-SDI signals. Works in 1080i,
1035i, 1080psf and 720p with internal or external sync (tri-level).
HD10MD3
HD-SDI to SDI/Analog Downconverter
The HD10MD3 is a miniature digital
downconverter for converting HD-SDI
video to standard definition SDI and
analog component/composite video. The
HD10MD3 uses a full 10-bit data path and
multi-point interpolation to produce
broadcast quality downconverted video.
In addition, the HD10MD3 converts either
1080p24 or 1080p24sf to 59.94 Hz output video using the standard 3:2
pulldown technique. The output can be formatted for either 4:3 or 16:9
standard definition monitors. Four-channel input embedded HD-SDI
audio is passed to the SDI output.
HD10MD3 (Mfr # HD10MD3 • B&H # AJHD10MD3) ..........................................1099.95
HD10AVA
SD/HD Analog Composite or Component Video
and 4-Channel Analog Audio to SD/HD-SDI
with Embedded Audio
A low cost, 1x4 HD/SD-SDI DA/repeater.
Featuring four separately buffered
HD/SD-SDI outputs, the HD5DA provides
automatic input cable equalization to 330’
and automatically adapts to 143, 177, 270,
360 MB, and 1.5 GB.
The HD10AVA is a miniature, highquality, audio/video, HD/SD A/D
converter. The HD10AVA automatically
detects the video input format and
embeds the audio inputs in the
SDI/HD-SDI outputs. The HD10AVA
is useful for adding an SDI/HD-SDI
audio/video output to tape decks or
any professional video equipment with analog outputs. The HD10AVA is
especially useful for adding HD-SDI outputs to most HDV cameras or
decks by using the component outputs of such devices. The HD10AVA
uses a breakout cable (included) for audio/video inputs and provides 3
SDI-HD-SDI on BNC.
HD5DA (Mfr # HD5DA • B&H # AJHD5DA) ...249.95
HD10AVA (Mfr # HD10AVA • B&H # AJHD10AVA) .................................................849.95
HD10A (Mfr # HD10A • B&H # AJHD10A) ................................................................759.95
HD5DA
1x4 HD/SD-SDI Distribution Amplifier
www.bhphotovideo.com
COMPUTER VIDEO
A JA
1057
HD-SERIES MINIATURE CONVERTERS
HD10CEA
HD10AMA
SDI/HD-SDI to Analog Audio/Video
HD/SD 4-Channel Analog
Audio Embedder/Disembedder
The HD10CEA converts SDI/HD-SDI
video with embedded audio to analog
video and 4 channel balanced analog
audio. SD video outputs can be
configured as YPbPr (Betacam or
SMPTE/EBU-N10), RGB, composite or
YC (S-Video). HD video outputs can be
configured as YPbPr or RGB. The analog
audio outputs can be wired in a balanced or unbalanced configuration.
The 4 audio channels can be selected from group 1-4. Audio and video
output connections are available on a 25 pin “D” subminiature connector
(breakout cable supplied). All video/audio configuration is done by
external dipswitch selection. This versatile, low-cost, miniature monitoring
solution also outputs two loop-thru SDI/HD-SDI outputs.
HD10CEA (Mfr # HD10CEA • B&H # AJHD10CEA) .................................................899.95
HDP
HD-SDI/SDI to DVI-D and Audio Converter
A miniature HD-SDI/SDI to DVI-D
converter for LCD or Plasma monitors.
Using a very high quality scaling engine,
the HDP will automatically size 4:3 or 16:9
inputs to many DVI-D monitors (see
Technical Note below). For appropriate
monitor configurations, scaling is automatically 1:1 — for example, displaying
1920 x 1080 video on a WUXGA (1920 x 1200) monitor. The HDP will also
automatically adapt the input frame rate for monitor compatibility. In
addition, the HDP provides 2 channel RCA style audio monitoring and 2
looping outputs of the SDI inputs. HDP is the ideal solution for displaying
SDI or HD-SDI on any LCD or Plasma DVI-D monitor.
HD10P (Mfr # HDP • B&H # AJHDP)........................................................................679.95
GEN10
HD/SD Sync Generator, Blackburst
and Tri-level Sync Generator
The GEN10 is a cost effective and
flexible SD/HD/AES sync generator.
The GEN10 features 7 outputs including
2 groups of independently controlled
SD/HD sync outputs and one AES-11
output. The SD outputs can be switched
between color black or color bars. HD
tri-level sync can be switched between
19 different HD formats including all that
are in use today. The AES-11 output can be switched between SILENCE
and TONE. All outputs are in sync with each-other and are sourced from
an accurate master time base.
GEN10 (Mfr # GEN10 • B&H # AJGEN10) ................................................................334.95
The HD10AMA is a dual rate 4-channel
analog audio Embedder/Disembedder.
The Disembedder is always functional
providing 4 outputs. The Embedder is
user selectable, on a channel pair basis, to
either “pass” input audio or embed input
audio from the breakout cable. Analog
audio levels are selectable. The HD10AMA
automatically detects and configures to the input video standard.
HD10AMA (Mfr # HD10AMA • B&H # AJHD10AMA) .............................................899.95
HD10DA 1x6 HD/SD-SDI Distribution Amplifier
The HD10DA is a miniature, low-cost 1x6
SD/HD (dual-rate) re-clocking distribution
amplifier with auto sensing HD-SDI or SDI
input. Featuring six separately buffered
HD-SDI outputs, the HD10DA provides
automatic input cable re-clocking and
equalization to 400’. Also offers bi-color
LED indication of input lock and rate.
Passes all ancillary data.
HD10DA (Mfr # HD10DA • B&H # AJHD10DA) ......................................................469.95
DWP Miniature Power Supply
A miniature 100-240v, 50/60Hz high quality
power supply for all of AJA’s stand-alone
products. Custom manufactured for AJA,
it is so small it does not cover the adjacent
socket in power strips. With a 2x power
over-rating and a molded, latching, circular
connector with gold pins, the DWP meets
the high reliability requirements of the
professional video industry.
DWP (Mfr # DWP • B&H # AJDWP) .............................................................................37.95
RMB Rack Mounting Brackets
RMB-10 (Mfr # RMB10-RO • B&H # AJRMB10RO)
Designed for D- and H-series converters, they let you secure your
converter in virtually any installation area. Package of 10 brackets
with mounting screws ..............................................................................................59.95
DWP-U In-Line AC Adapter
The DWP-U is an in-line 100-240v,
50/60Hz AC adapter with a universal
input which can accept a power cord
anywhere in the world.
DWP-U (Mfr # DWPU • B&H # AJDWPU).......54.95
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1058
COMPUTER VIDEO
A JA
HD-SERIES MINIATURE CONVERTERS
ADA4
HA5
4-Channel Bi-Directional Audio A/D & D/A Converter
DMI to SDI/HD-SDI Video and Audio Converter
The ADA4 is a 4-channel converter that
can be configured as a 4-channel A/D, a
4-channel D/A, 2-channel A/D and 2channel D/A, or an AES sychronizer. The
ADA4 can accept a AES11, wordclock or
video sync/color black reference input
for synchronization. Reference input and
synchronization are automatic. Audio
levels are configurable via dipswitch control.
The HA5 converts HDMI to SD-SDI or
HD-SDI. Up to eight channels of HDMI
audio are embedded into the SD/HDSDI output allowing a convenient single
cable audio/video connection. The HA5
provides two SDI/HD-SDI outputs and
supports long HDMI cables on the input.
Ideal for connecting HDMI cameras to
SDI/HD-SDI equipment.
ADA4 (Mfr # ADA4 • B&H # AJADA4) ......................................................................334.95
HA5 (Mfr # HA5 • B&H # AJHA5) ..............................................................................419.95
HD10AM
Hi5
HD/SD 8 Channel AES Embedder/Disembedder
HD-SDI/SDI to HDMI Video and Audio Converter
A dual rate 8 channel AES audio
Embedder/Disembedder. The
Disembedder is always functional
providing 4 AES outputs. The Embedder
is user selectable, on a channel pair
basis, to either “pass” SDI input audio or
to embed input AES audio from the
breakout cable. AES inputs are sample
rate converted to a 48KHz rate synchronous to the video input. It
automatically detects and configures to the input video standard.
The Hi5 converts SDI or HD-SDI to HDMI
for driving HDMI monitors. Embedded
SDI/HD-SDI audio is supported in the
HDMI output allowing a convenient single cable audio/video connection. The
Hi5 provides 2 Channel RCA style audio
outputs for separate audio monitoring if
needed. The Hi5 also provides a looping
SDI/HD-SDI output useful for connecting additional equipment, or for
“daisy chaining” multiple monitors to the same SDI-HD-SDI source.
HD10AM (Mfr # HD10AM • B&H # AJHD10AM).....................................................899.95
Hi5 (Mfr # HI5 • B&H # AJHI5) ..................................................................................419.95
C10SP & C10PS
Parallel Serial Converters
The C-Series converters are designed to efficiently adapt 8-bit or10-bit parallel
digital video equipment to serial digital interfaces. The C-Series converters
attach directly to the “D” connectors of parallel equipment - eliminating the need
for expensive and unreliable parallel cables. At only .65” wide, they can fit on even
the highest density parallel equipment. Require power supply (C10WP or C10WPU).
C10-Series Power Supplies
◆ Parallel to serial, serial to parallel video
conversion
◆ Multi-format, multi-standard
◆ Auto configuration to component/
composite, 525 or 526-line
◆ Dither mode for proper 10-bit to 8-bit
The C10WP is a miniature, high quality switching power supply for the C10SP and C10PS. Custom
manufactured for AJA, the C10WP is so small it does not cover the adjacent socket in power strips.
With a 2x power over-rating and a molded, latching, circular connector with gold pins, the C10WP
meets the high reliability requirements of the professional video industry. The C10WPU is an in-line
universal input version that can accept a power cord anywhere in the world.
C10SP: Serial (SDI) to Parallel (Multi-Standard) Transcoder (Mfr # C10SP • B&H # AJC10SP)..........................419.95
conversion
◆ Ancillary data filter blocks audio/
unwanted data
◆ Crystal PLL Jitter Filter available
C10PS: Parallel (Multi-Standard) to Serial (SDI) Transcoder (Mfr # C10PS • B&H # AJC10PS) ........................449.00
C10WP: Power Supply (Mfr # C10WP • B&H # AJC10WP) ...............................................................................................46.95
C10WPU: Universal Power Supply (Mfr # C10WPU • B&H # AJC10WPU) ...................................................................59.95
www.bhphotovideo.com
COMPUTER VIDEO
A JA
1059
FS1
Universal SD/HD Audio/Video Frame Synchronizer
and Converter
Featuring a flexible “everything in,
everything out” architecture, the FS1can
simultaneously work with both HD and
SD video—all in full 10-bit Broadcast
quality video and 24-bit audio. The FS1
supports virtually any input or output, analog or digital, HD or SD. The FS-1can up- or down-convert between SD and HD,
and provide simultaneous HD and SD outputs. Cross-conversions between HD formats are also supported, with simultaneous output of both formats. For audio, the FS1supports 8-channel AES, Balanced analog, or embedded audio with full
flexibility. The FS-1supports closed captioning and the conversion of closed captioning between SD and HD formats. The
FS-1is also network ready, supporting web-based remote control.
F EATURES
Anything in. Anything out. FS1 Architecture
◆ SD1 HD up/down conversion
◆ SD1 SD aspect ratio conversion
◆ HD1 HD cross conversion (720p/1080i)
◆ Up/down/cross converting with both the
input and converted formats on SD/HD-SDI
outputs (both synchronized)
◆ HD cross converting with simultaneous
downconverted SDI output
◆ Dual HD/SD SDI inputs and outputs
◆ Component analog HD/SD input and output
◆ Composite/S-Video input/output with TBC
◆
8-channel AES and balanced analog audio
inputs and outputs
◆ 8-channel embedded audio I/O
◆ Fully redundant power supplies standard
◆ 10/100 LAN with SNMP, and embedded web
server for remote control
◆ Video Proc Amp; Audio Processing
◆ Closed caption support – including SD to HD
upconversion
◆ Chassis styling optimized for machine room
use with simple panel and remote web
browser user interfaces
◆ Front panel alphanumeric and graphical
display shows input/output settings and
parameter viewing/editing choices
◆ LED status indicators for at-a-glance system
monitoring
Featuring a flexible “anything in, anything out” architecture, the FS1 Universal SD/HD
Audio/Video Frame Synchronizer and Converter can simultaneously work with both HD
and SD video — all in full 10-bit broadcast quality video and 24-bit audio. The FS1
supports virtually any input or output, analog or digital, HD or SD. The FS1 can up-or
down-convert between SD and HD, and provide simultaneous HD and SD outputs.
Cross-conversions between HD formats are also supported, with simultaneous output of
both formats. For audio, the FS1 supports 8-channel AES, balanced analog, or embedded
audio with full flexibility and audio processing controls. The FS1 supports closed
captioning and the conversion of closed captioning between SD and HD formats. The
FS1 is also network ready, supporting web-based and SNMP remote control.
◆ Two GPI inputs and outputs, TTL, isolated
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1060
COMPUTER VIDEO
A JA
FR1 • FR2
R-SERIES One and Two RU Rackmount Frames
The FR1and FR2 mounting frames provide high-density rackmount
solutions for AJA’s R-Series modules. The FR1is a 1RU frame with 4
slots; the FR2 is a 2 RU frame with10 slots. Both frames feature highcapacity power supplies with no power restrictions for any module
combination. Also, both frames feature multi-fan forced-air cooling,
which provides
ample cooling
capacity without
the need for an empty rack space above the units. Both frames feature
optional redundant power supplies - the FR2’s power supplies are easily
changed from the front of the unit. The FR2 features a reference
distribution amplifier which distributes a color black reference to all
slots from one BNC input. The FR1also features a frame reference
input with a passive distribution to all 4 slots.
F EATURES
FR1
FR1
FR2
4 Slots, 1 Rack Unit
10 Slots, 2 Rack Unit
◆ 1 rack unit mounting frame
Capacity
◆ 4 module capacity
Inputs
Power Supply Monitoring
Reference Input, BNC
Power Supply Monitoring; Reference Input,
BNC — Active DA to all slots
Power
50 Watt Capacity
Universal Input 90-240 VAC Power Supply;
Optional Redundant Power
Supply, Diode Isolated
100 Watt Capacity
Universal Input 90-240 VAC Power Supply;
Optional Redundant Power
Supply, Diode Isolated
Cooling
Multiple Fan Forced Air
Multiple Fan Forced Air
Dimensions
19” x 1.75” x 14.75”, (1RU)
19” x 3.5” x 13”, (2RU)
◆ Multiple fan forced air cooling
◆ Optional redundant power supplies
◆ Power supply monitoring
◆ Frame reference input BNC
◆ Universal 90-240v AC 50w power supply
FR2
◆ 2 rack unit mounting frame
◆10 module capacity
◆ Multiple fan forced air cooling
◆ Optional redundant power supplies
◆ Reference DA sends color black to all slots
◆ Power supply monitoring
◆ Universal 90-240v AC 50w power supply
(Mfr # FR1• B&H # AJFR1) ........................................664.95
FR2: FR2 Frame with one FR2-PS Power Supply
Installed (Mfr # FR2 • B&H # AJFR2) ..................1089.95
FR1-D: FR1 Frame with dual FR1-PS
(Redundant) Power Supplies Installed
(Mfr # FR1D • B&H # AJFR1D) ...................................749.95
FR2-D: FR2 Frame with dual FR1-PS
(Redundant) Power Supplies Installed
(Mfr # FR2D • B&H # AJFR2D) ...............................1259.95
FR1-PS: Power Supply Module for FR1 Frame
(Mfr # FR1-PS • B&H # AJFR1PS) ...............................139.95
FR2-PS: Power Supply Module for FR2 Frame
(Mfr # FR2-PS • B&H # AJFR2PS) ..............................229.95
FR1: FR1 Frame with one FR1-PS Power Supply
FSG Frame Sync/Genlock Module
The FSG Frame Sync/Genlock Module is an optional upgrade to AJA’s R20 series encoders and decoders. The FSG Module
provides user-adjustable output timing relative to an external sync reference. Also, a delay mode provides adjustable
delay with respect to the video input. In addition to the frame sync and delay functions, when installed on AJA R20 Series
encoders, the FSG Module allows the encoder to Genlock to an external reference.
www.bhphotovideo.com
COMPUTER VIDEO
A JA
1061
R-SERIES
RH10UC
RH10DA
SD to HD Upconverter & HD Frame Synchronizer
Dual Rate SD/HD 1x8 Re-Clocking DA
The RH10UC is a 10-bit SD to HD
up-converter. Using motionadaptive de-interlacing and high
quality digital scalers, it provides
excellent broadcast quality HD
video from SD sources. Output
HD video is selectable between 720p and 1080I formats.
4:3 to 16:9 aspect ratio conversion is selectable between 4:3
pillarbox, 14:9 crop, 16:9 anamorphic, and 16:9 zoom. Input
SD ITU Rec. 601 color space is converted to ITU Rec. 709.
The RH10UC passes 8 channel embedded audio with a
compensating delay. Additionally, it can operate as a
stand-alone HD or SD Frame Synchronizer.
(Mfr # RH10UC • B&H # AJRH10UC) .................................................2599.00
The RH10DA is a multi-standard Dual Rate 1x8 SDI/HD-SDI Distribution
Amplifer. The input is re-clocked
and equalized to
100/300 meters
(HD/SD) of coax
cable. The RH10DA
automatically
configures to 143,
177, 270, 360MB, or 1.485GB SDI inputs. The re-clock function
can be by-passed with an on-board jumper.
(Mfr # RH10DA • B&H # AJRH10DA) ............................................................................839.95
RH10MD
HD Down Converter & HD-SDI Distribution Amplifer
The RH10MD is a 10-bit broadcastquality HD down converter and
HD-SDI/SDI DA. There are 4
re-clocked HD-SDI/SDI outputs
and four down-converted SD
outputs. The SD outputs can be
individually configured as analog or SDI - analog can be
component or composite. All HD formats are supported
including 24p/psf with 3:2 pulldown. The SD output can
be formatted for either 4:3 or 16:9 monitors. For 4:3
monitors both letterbox and crop modes are supported.
The RH10MD is also dual-rate (HD/SD) and will support
SDI inputs. 4-CH AES embedded audio is passed through
to the SDI outputs.
(Mfr # RH10MD • B&H # AJRH10MD) .......................................................................2049.95
RD10MD
Dual HD to SD Downconverter
A 10-bit broadcast-quality dual
HD down converter. Channels 1
and 2 are fully independent.
Channel 1 has 2 re-clocked
HD/SD-SDI outputs, and channel
2 has 1. Both channel
1 and 2 have 2 down-converted outputs, which can be
independently configured as SDI or analog composite.
All HD formats are supported, including 24p/psf with 3:2
pulldown. The SD output can be formatted for either 4:3 or
16:9 monitors. For 4:3 monitors, both letterbox and crop
modes are supported. Has a 4:3 safe-zone graticule. It is also
dual-rate (HD/SD) and will support SDI inputs.
(Mfr # RD10MD • B&H # AJRD10MD) .......................................................................1999.95
R20AD
Analog Composite or Component to SDI Converter
The R20AD provides excellent
quality, universal 10-bit conversion of component or composite
analog video to four SDI outputs.
The R20AD accepts Y/Pb/Pr, Betacam, or RGB component inputs and composite (NTSC/PAL), S-Video inputs. Features a 3-Line
Adaptive Comb Filter for high quality decoding of composite sources. The comb filter can be switched to 2 line or
notch modes for minimum delay requirements. The R20AD
accomodates the optional FSG card (Frame Sync) offering
choices for synchronizing the output video relative to
an external reference or the input video. NTSC/PAL
configuration is automatic. Video format, AGC, H/V
blanking, and pedestal are all user configurable.
(Mfr # R20AD • B&H # AJR20AD) ...............................................................................834.95
R20DA
1x8 SDI Distribution Amplifier
The R20DA is a multi-format, 1x8
SDI DA. The SDI input
is re-clocked and
equalized to 300
meters of cable.
In addition, the
multi-standard feature allows the R20DA to automatically
adapt to 143, 177, 270, or 360 MB SDI inputs.
(Mfr # R20DA • B&H # AJR20DA).......................................................259.00
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1062
COMPUTER VIDEO
A JA
R-SERIES
R5CE
RD5CE
1x4 SDI DA and
Component/Composite Analog Converter
Two-Channel Digital to Analog
Component/Composite Converter
An SDI DA and universal monitoring
D/A converter. It provides 4 equalized
and re-clocked SDI outputs along
with four analog monitoring outputs.
The analog outputs
can be configured as
composite (NTSC/PAL), S-Video, Y/Pb/Pr, Betacam or RGB. A
PLL jitter filter/memory reduces the effects of SD jitter on
the analog outputs. An exclusive feature on the R5CE is a
10- to 8-bit dithering circuit that removes contouring in the
analog outputs. It also features user-selectable pedestal
and H&V blanking. (Mfr # R5CE • B&H # AJR5CE) .....................539.00
A low-cost, dual-channel, universal
video D/A converter. It supports two
completely separate channels of SDI
to analog conversion and
is useful for video/key or
video/video applications.
Channel 1 can output component or composite analog
video including Y/Pb/Pr, Betacam, RGB, composite or
S-Video. Channel 2 can output composite or Y. Both SDI
inputs have a reclocked SDI loop-thru output.
(Mfr # RD5CE • B&H # AJRD5CE) ....................................................1149.00
R10CE
1x4 SDI DA and
10-Bit Component/Composite Analog Converter
The R10CE is an SDI distribution
amplifier and universal monitoring
D/A converter. It provides four
equalized and
re-clocked SDI outputs along with four
10-bit analog monitoring outputs. The four analog outputs
can be configured as composite (NTSC/PAL), S-Video,
Y/Pb/Pr, Betacam or RGB. A PLL jitter filter/memory reduces
the effects of SD jitter on the analog outputs.
(Mfr # R10CE • B&H # AJR10CE) .......................................................589.95
R44E
Four-Channel SDI to Analog Composite Converter
The R44E provides four analog
composite (NTSC/PAL) monitoring
outputs from four separate SDI
inputs. Each channel has
a separate D/A converter
with a 10-bit DAC and
8-bit broadcast encoding.
Values below black and above white are not clipped. Each
channel has a test pattern generator with separate user
selectable blanking controls. The R44E also features automatic NTSC or PAL configuration.
(Mfr # R44E • B&H # AJR44E) ......................................................................................834.95
www.bhphotovideo.com
RD20DA
Dual-Channel SDI Distribution Amplifier
The RD20DA is a multi-standard,
2-channel, 1x4 and
1x3 SDI Distribution
Amplifier. The SDI
input is re-clocked
and equalized to
1000’ of cable. In addition, the multi-standard feature
allows the RD20DA to automatically adapt to 143, 177, 270,
or 360 MB SDI inputs.
(Mfr # RD20DA • B&H # AJRD20DA) ...........................................................................329.00
R20CE
SDI to Analog Component/Composite Converter
A universal D/A converter that provides excellent quality 10-bit conversion of SDI to simultaneous
component and composite video.
The 4 analog outputs are user configurable to composite
(NTSC/PAL), S-Video, Y/Pb/Pr Betacam, or RGB. The
component and composite outputs are completely
independent including optimum chroma filtering for each
and independent pedestal configuration. The R20CE also
features an exclusive PLL jitter filter/memory to reduce the
effects of SDI jitter on the output analog video. This feature,
along with the precision 4x oversampled D/A filter, provides
the highest quality analog outputs - including very low phase noise in
composite outputs. The optional FSG (Frame Sync/Genlock) Module allows genlock to an external reference with full timing adjustment. Without the FSG Module, the reference input provides color frame timing.
(Mfr # R20CE • B&H # AJR20CE) .................................................................................834.95
COMPUTER VIDEO
A JA
1063
Audio Reference Generator
Passes Audio To Output(s)
+5 to +18Vdc
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D5D
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D5PSW
✓
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D10AD
✓
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—
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D10A
✓
✓
✓
—
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D10C
✓
✓
—
—
✓
D2
✓
—
—
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—
—
—
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—
D10C2
✓
✓
—
—
✓
✓
✓
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D10CE
✓
✓
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✓
✓
✓
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D10CEA
✓
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✓
✓
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D5DA
✓
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R44E
✓
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✓
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R5CE
✓
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✓
✓
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RD5CE
✓
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—
✓
✓
✓
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R10CE
✓
✓
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—
✓
✓
✓
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R20AD
✓
✓
✓
✓
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✓
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R20CE
✓
✓
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✓
✓
✓
✓
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R20DA
✓
✓
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—
✓
—
—
—
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—
—
—
—
—
—
—
✓
—
Audio Conversion
—
✓
Audio Embed/Disembed
—
✓
Dual Rate
✓
✓
HD-SDI to SDI
SDI to SDI Reclocking Loop
—
—
SDI to HD-SDI
SDI to NTSC/PAL Composite
—
—
HD-SDI to SDYPbPr/RGB/Y/C/
SDI to YPbPr/RGB Component
—
—
HD-SDI to HD-SDI DA
Composite Y/C NTSC/PAL to
—
✓
HD YPbPr/RGB to HD-SDI
Component YPbPr/RGB to SDI
✓
D5CE
HD-SDI to HD YPbPr/RGB
10-BIT
D4E
Frame Sync/FSG Option
8-BIT
BREAKOUT CHART
RD20DA
✓
✓
—
—
—
—
✓
—
—
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—
—
✓
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✓
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RH10MD
—
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—
✓
✓
✓
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✓
✓
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✓
✓
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✓
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RD10MD
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—
✓
✓
✓
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✓
✓
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✓
✓
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RH10DA
✓
✓
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✓
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✓
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✓
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✓
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RH10UC
✓
✓
—
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—
✓
—
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—
✓
—
✓
—
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—
—
—
✓*
—
FS1
—
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
3GM
✓
✓
—
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—
✓
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✓
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3GDA
✓
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✓
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—
✓
✓
ADA4
—
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—
✓
✓
✓
✓
HD10C2
✓
✓
—
—
✓
✓
✓
—
✓
—
✓
—
—
—
✓
—
—
—
—
✓
HD10A
✓
✓
—
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✓
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—
HD10AVA
✓
✓
—
✓
✓
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—
✓
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—
—
✓
✓
—
—
✓
✓
HD10AM
—
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—
✓
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✓
✓
—
—
✓
✓
HD10AMA
—
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—
✓
—
—
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—
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—
—
✓
✓
—
—
✓
✓
HD10CEA
✓
—
✓
—
✓
✓
—
—
✓
—
—
✓
—
—
✓
✓
—
—
✓
—
HD10MD3
✓
✓
—
—
✓
✓
✓
—
—
—
✓
✓
—
✓
✓
—
—
—
✓
✓
HD5DA
✓
✓
—
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✓
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✓
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✓
—
HD10DA
✓
✓
—
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✓
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✓
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✓
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✓
✓
HDP
✓
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✓
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✓
✓
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—
✓
✓
Hi5
—
✓
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✓
✓
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✓
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HA5
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✓
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✓
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✓
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GEN10
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—
✓
—
✓
✓
* RH10UC passes audio on up-convert, but not in HD Framesync mode
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1064
COMPUTER VIDEO
APP L E
MAC PRO
Tower of 8-core Power
The fastest Macintosh ever made, the Mac Pro features
the latest Quad-Core Intel Xeon 5400 series processors
running up to 3.2 GHz, each with12MB of L2 cache per
processor for breakthrough performance and power
efficiency. The ideal system for creative professionals,
3D digital content creators and scientists, it offers
high-bandwidth hardware architecture, dualindependent1600 MHz front side buses, up to 32GB
of DIMM memory, powerful graphics and up to 4TB
of internal storage.
The Mac Pro comes standard with the ATI Radeon HD 2600 XT graphics card with 256MB of video memory. It includes a
PCI Express 2.0 graphics slot, and supports the latest generation of graphics cards from NVIDIA, such as the GeForce 8800
GT with 512MB of video memory, or Quadro FX 5600 with1.5GB of video memory. With support for up to four graphics
cards, the Mac Pro can drive up to eight 30” displays at once for advanced visualization and large display walls.
The most expandable Mac ever, Mac Pro features four internal hard drive bays with direct-attach, cable-free installation of
four1TB Serial ATA hard drives, totaling 4TB of internal storage and support for two SuperDrives. With optional15000 rpm
SAS drives that can deliver up to 250MB/s of RAID 5 disk I/O performance, the Mac Pro is ideal for film and video editors.
Combined with SATA or SAS drives, using an optional Mac Pro RAID card offers the ultimate data protection and disk I/O
performance on the Mac Pro. The Mac Pro is easily accessible in front and back so users can connect external devices with
five USB 2.0, two FireWire 400, two FireWire 800, optical and analog audio in and out, dual Gigabit Ethernet ports and a
headphone jack. Includes an ultra-thin aluminum Apple Keyboard and built-in Bluetooth 2.0 makes it easy to reduce cable
clutter with the optional Apple Wireless Keyboard and Apple Wireless Mouse.
PROCESSING POWER
◆ Inside the Mac Pro are Quad-Core Intel Xeon “Harpertown” processors.
These processors run at blazingly fast speeds up to 3.2GHz. Based on
45-nm Intel Core microarchitecture, they
deliver amazing performance but still maintain
outstanding energy efficiency.
◆ A huge amount of L2 cache — 12MB per processor
— keeps frequently used data and instructions
close to the processor cores and improves overall
performance. 6MB of cache is shared between
pairs of processor cores, allowing an individual
core to use all the available shared cache at any
one time.
◆ With the fastest Xeon architecture available, the
Mac Pro features 1600MHz dual independent
frontside buses. These 64-bit buses give each
processor a direct connection to the system
controller and deliver improved processor bandwidth of up to 25.6GB
per second — 20% greater than the previous Mac Pro.
www.bhphotovideo.com
◆ With a new system architecture, speedier system buses, and fast
800MHz DDR2 fully buffered DIMM memory, Mac Pro memory
throughput is up to 1.6 times faster than before.
◆ Every Intel Xeon processor features an
enhanced SSE4 SIMD engine. Capable of
completing 128-bit vector computations in a
single cycle, SSE4 is ideal for transforming large
sets of data, such as applying a filter to an image
or rendering a video effect.
◆ The Mac Pro incorporates a 256-bit-wide, fully
buffered memory architecture with Error
Correction Code (ECC), which corrects singlebit errors and detects multiple-bit errors
automatically. These features are especially
important in mission-critical or computeintensive environments. Apple designed a
more stringent thermal specification for the Mac Pro FB-DIMMs, so the
internal fans spin at slower speeds and keep the system quiet.
COMPUTER VIDEO
A P P LE
1065
MAC PRO
Graphics
◆ All-new high-performance graphics cards
from ATI and NVIDIA make Mac Pro graphics
technology even more cutting edge. The
standard graphics card — an ATI Radeon HD
2600 XT with 256MB of GDDR3 memory, PCI
Express 2.0, and two dual-link DVI ports —
provides great performance for typical
creative applications. Get dual 30” Apple
Cinema HD Display support out of the box.
◆ For motion graphics, 3D modeling, rendering,
or animation, you’ll need the greater graphics
horsepower offered by the NVIDIA GeForce
8800 GT with 512MB of GDDR3 memory and
latest-generation NVIDIA GPU technology.
◆ The optional NVIDIA Quadro FX 5600 graphics
card is the ultimate workstation-class graphics
card available, with a massive 1.5GB of
GDDR3 memory and a 3D stereo port for
stereo-in-a-window applications.
Unequaled Expansion Capability
The Mac Pro’s smart design makes installing massive amounts of memory, adding
expansion cards, and increasing storage surprisingly simple and intuitive. Plenty of I/O
ports to connect external devices. The Mac Pro features four full-length expansion slots,
including an even higher-performance PCI Express 2.0 graphics slot, with up to twice the
bandwidth of PCI Express. The graphics slot is double-wide, so your graphics card won’t
cover an adjacent slot. In addition, three available expansion slots, one PCI Express 2.0
and two PCI Express, provide room to grow. And thanks to a tool-less PCI bracket, you can
take out cards as fast as you put them in.
The Mac Pro comes with four 3.5” internal hard drive bays for an enormous amount of
internal storage — up to 4TB. These bays are direct-attach and cable free, so it’s easy to
add or remove drives. Just attach the drive carrier to either a Serial ATA 3Gb/s or Serial
Attached SCSI 3Gb/s drive, and slide the drive into place. There are no connectors or
cables to contend with. Lock the drives with the side door latch, and you’re done.
Installing more memory is a snap. Mac Pro has two memory riser cards with four fully
buffered DIMM slots each. Just slide out the riser cards and snap in the memory. You don’t
have to dig around inside the computer or wrestle with wires or cables. With eight DIMM
slots available, you can install up to 32GB of 800MHz ECC fully buffered DIMM memory.
◆ All of these cards feature the latest-generation
unified shader model support. Compared to
dedicated pixel and vertex shaders, shaders
are no longer special-purpose and can now
be utilized based on the needs of the
graphics application.
◆ 16-lane dedicated graphics slot features PCI
Express 2.0 for connecting high-performance
graphics card. PCI Express 2.0 delivers twice
the transfer rate of PCI Express.
◆ To create an incredible display wall or large-
scale visualization, install up to four graphics
cards, each with two dual-link DVI ports. You
can run up to eight 30” Cinema HD Displays
at the same time with just one Mac Pro.
I/O Ports
◆ Two FireWire 800 ports (one on
Storage and RAID
The Mac Pro comes with four 3.5” internal hard drive bays for an enormous amount of internal
storage — up to 4TB when you install four 1TB Serial ATA 3Gb/s drives. Each bay provides its own
independent 3Gb/s channel for fast access to data. And thanks to the cable-free, direct-attach
installation system, adding (or replacing) hard drives is a surprisingly simple process.
Using Mac OS X, you can stripe two, three, or all four hard drives in a RAID 0 array to increase performance and create a massive volume for video editing; or create a RAID 1 mirror for protecting
your critical digital media assets against a drive failure. For the ultimate in data protection and
enhanced performance, add the optional Mac Pro RAID Card with 256MB of RAID cache, a
72-hour cache-protecting battery, and hardware RAID levels 0, 1, 5, and 0+1. Apple’s RAID Utility
software makes setting up and managing the RAID card easy.
You can also choose ultrafast 15,000-rpm Serial Attached SCSI (SAS) 3Gb/s drives with 300GB of
capacity for the highest in disk I/O performance. Together with the Mac Pro RAID Card, these
drives provide 250MB/s of RAID 5 disk I/O performance. Enough data to play back one stream of
10-bit uncompressed HD content. The ultimate storage solution for demanding data transfer
situations like editing uncompressed HD video content or updating ultra-high-resolution images.
Sure it’s great to have one 16x SuperDrive at your disposal, but think how much more productive
you could be with two. Imagine backing up your data to two double-layer DVDs at once. With
two optical drive bays in every system, the Mac Pro lets you do exactly that.
front panel, one on back panel)
◆ Two FireWire 400 ports (one on
front panel, one on back panel)
◆ Five USB 2.0 ports (two on
Apple Keyboard and Mighty Mouse
front panel, three on back
panel)
◆ Two USB 2.0 ports on included
Rear ports
keyboard
◆ Front-panel headphone minijack and
speaker
◆ Optical digital audio in/out TOSLINK ports
◆ Analog stereo line-level input/output
minijacks
Every Mac Pro comes
with an Apple Keyboard
and Mighty Mouse.
The keyboard adds 2
additional USB 1.1
ports to your system,
perfect for connecting
low-speed devices. The
Apple Mighty Mouse can plug into one of those ports and features left and right click ability, a
360° clickable Scroll Ball and “squeeze clicking” side buttons.
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1066
COMPUTER VIDEO
APP L E
OS X LEOPARD
At the core of every Macintosh computer is the OS X Leopard operating system.
Built on a rock-solid UNIX foundation, Leopard delivers true 64-bit performance, and
incorporates industry-leading animated graphics. Plus, you get full performance and
compatibility for your 32-bit applications and drivers, so you don’t need to update
everything on your system just to run a single 64-bit application. There’s no need to
upgrade drivers, and you can even stick with your existing printers, storage devices,
and PCI Express cards. Leopard lets you take advantage of 64-bit processing power
without having to use command-line applications, servers, and computation engines.
What makes Leopard so great? The fully compliant UNIX technology. It can compile
and run all your existing UNIX code. It helps you make the most of multicore systems.
It puts a new tabbed-interface terminal at your fingertips.
Leopard is designed to take full advantage of eight cores of processing power. The Leopard scheduler efficiently allocates tasks across multiple cores
and processors. So Leopard spends less time managing tasks and more time performing computations. A new multithreaded network stack speeds up
networking by handling network inputs and outputs in parallel.
XSERVE Quad Xeon 64-Bit Server
Apple’s Xserve is an enterprise-quality
network server with the Mac OS X
Server operating system for unlimited
users. Housed in a1U rackmount form
factor, the server features a Quad Core architecture powered by two Dual-Core-Core Intel Xeon 5100 processors, dual
Gigabit Ethernet ports, two PCI Express 8x expansion slots, two FireWire-800 ports, two USB 2.0 ports, one FireWire-400
port, and one DB-9 serial port. It also features an ATI Radeon X1300 graphics chipset with a mini-DVI connector and a
SuperDrive DVD burner. The system includes an 80 GB SATA hard drive; two drive bays are available to add additional
storage via SATA or SAS Apple Drive Modules.
◆ It all starts with the 64-bit Quad-Core Intel Xeon “Harpertown” 5400
series processor. Thanks to this powerful 45-nanometer Intel Core micro
architecture processor, Xserve runs at blazing speeds up to 3.0GHz.
Each Intel Xeon processor has its own 1600MHz system bus for up to
25.6GB/s of bandwidth, so there’s even faster access to main memory.
◆ Four processing cores deliver an incredible performance boost across
the board. A massive 12MB of L2 cache per processor keeps instructions
and data close to the processor cores, reducing frontside bus
transactions and memory latency. Intel’s cache technology allows core
pairs to share 6MB of cache. If one core happens to be idle or needs less
cache resources, the other can fully utilize it. The enhanced SSE4 SIMD
engine handles 128-bit vector computations in a single cycle.
◆ Supports up to 32GB of 800MHz DDR2 ECC FB-DIMM (fully buffered
DIMM) memory —64% throughput boost over previous-generation.
◆ In every Xserve, there are two PCI Express 2.0 expansion slots —one
x16 and one x8 (one slot can be configured as a PCI-X slot). These
expansion slots provide the bandwidth needed for the latest Apple
and third-party I/O cards, such as dual- and quad-port 4Gb Fibre
Channel cards and 10Gb Ethernet adapters.
◆ Built-in graphics allows use of a keyboard, mouse, and display, without
taking a valuable slot. 2D/3D acceleration of the GPU enhances rendering
and video processing. Mini-DVI output lets you drive a 23” Apple
Cinema HD Display, and the included VGA adapter supports connection
to VGA devices and KVM (keyboard-video-mouse) switches.
Xserve Server: Includes Dual Dual-Core 3GHz Xeon 5100, 4GB (2x2GB) RAM, 80GB 7200rpm SATA Hard Driv, 8x Double-Layer SuperDrive, ATI Radeon
X1300 Graphics, Mac OS X Server v10.4 “Tiger” for Unlimited Users (Mfr # Z0DB000E8 • B&H # APXSQX3) .............................................................................................4876.50
Xserve Server: Same as above with Dual Quad-Core 2.8GHz Xeon 5400 (Mfr # Z0E7-7772 • B&H # APXSQX228) .................................................................................3998.50
Apple Premium Support Plan for Xserve and Xserve RAID Systems (Mfr # M8830LL/C • B&H # APACXS) ....................................................................................................899.95
www.bhphotovideo.com
COMPUTER VIDEO
1067
A P P LE
MAC PRO SYSTEMS
Processor
RAM
Hard Drive
Graphics Card
SKU
Price
2x 2.8GHz
Quad-Core Intel Xeon
2GB (2x1GB) 800MHz
DDR2 FB-DIMM
320GB
7200rpm SATA
ATI Radeon HD 2600 XT
with 256MB of GDDR3
Mfr # MA970LL/A
B&H # APMP228A
Call
2x 2.8GHz
Quad-Core Intel Xeon
2GB (2x1GB) 800MHz
DDR2 FB-DIMM
500GB
7200rpm SATA
ATI Radeon HD 2600 XT
with 256MB of GDDR3
Mfr # Z0EM065-7536
B&H # APMP228B
Call
2x 2.8GHz
Quad-Core Intel Xeon
2GB (2x1GB) 800MHz
DDR2 FB-DIMM
500GB
7200rpm SATA
nVIDIA GeForce 8800 GT
with 512MB of GDDR3
Mfr # Z0EM-7533
B&H # APMP22
Call
2x 3GHz
Quad-Core Intel Xeon
2GB (2x1GB) 800MHz
DDR2 FB-DIMM
500GB
7200rpm SATA
ATI Radeon HD 2600 XT
with 256MB of GDDR3
Mfr # Z0EM-7534
B&H # APMP230
Call
2x 3GHz
Quad-Core Intel Xeon
2GB (4x512GB) 667MHz
DDR2 FB-DIMM
250GB
7200rpm SATA
nVIDIA GeForce 7300 GT
with 256MB of GDDR3
Mfr # # Z0D8-00BAW
B&H # APMP3D
Call
2x 3GHz
Quad-Core Intel Xeon
2GB (2x1GB) 800MHz
DDR2 FB-DIMM
500GB
7200rpm SATA
nVIDIA GeForce 8800 GT
with 512MB of GDDR3
Mfr # Z0EM065-7533
B&H # APMP230C
Call
2x 3GHz
Quad-Core Intel Xeon
4GB (4x1GB) 800MHz
DDR2 FB-DIMM
320GB
7200rpm SATA
ATI Radeon HD 2600 XT
with 256MB of GDDR3
Mfr # Z0EM065-7534
B&H # APMP230D
Call
2x 3GHz
Quad-Core Intel Xeon
2GB (2x1GB) 800MHz
DDR2 FB-DIMM
1TB
7200rpm SATA
nVIDIA GeForce 8800 GT
with 512MB of GDDR3
Mfr # ZOEM-0505
B&H # APMP230C2X1T
Call
2x 3GHz
Quad-Core Intel Xeon
4GB (4x1GB) 800MHz
DDR2 FB-DIMM
750GB
7200rpm SATA
ATI Radeon HD 2600 XT
with 256MB of GDDR3
Mfr #ZOEM-0657538
B&H # APMP230B
Call
2x 3.2GHz
Quad-Core Intel Xeon
4GB (4x1GB) 800MHz
DDR2 FB-DIMM
500GB
7200rpm SATA
ATI Radeon HD 2600 XT
with 256MB of GDDR3
Mfr # ZOEM065-7535
B&H # APMP232B
Call
2x 3.2GHz
Quad-Core Intel Xeon
4GB (4x1GB) 800MHz
DDR2 FB-DIMM
500GB
7200rpm SATA
nVIDIA GeForce 8800 GT
with 512MB of GDDR3
Mfr # Z0EM-7535
B&H # APMP232
Call
2x 3.2GHz
Quad-Core Intel Xeon
4GB (4x1GB) 800MHz
DDR2 FB-DIMM
500GB
7200rpm SATA
nVIDIA Quadra FX 5600
with 1.5GB of GDDR3
Mfr # ZOEM-7536
B&H # APMP232A
Call
30” CINEMA HD DISPLAY
Featuring four million pixels in an anodized aluminum enclosure, Apple’s
30” Cinema HD Display gives you the space you need to visualize your entire
creation — yet provides the resolution necessary to edit in place. It lets you
view a web page and its code next to it — or a long video timeline in wide
format. Work in Photoshop with more than 30 layers in a palette. Take in
the whole timeline in Final Cut Pro. Display126 Logic Pro mixer controls
simultaneously. Or peer into four different modes of a molecule visualization
with subatomic detail.
The quality of the pixels you see impacts how you use your computer. After
years of experience, Apple engineers have discovered the ideal resolution to
display both sharp text and high-resolution graphics. Others may offer a larger
monitor, but with less resolution, so you end up with fewer pixels. Or a smaller monitor
with very high resolution
may cause eyestrain and headaches. The 30” Cinema HD Display is optimized for images, yet allows you to work easily with
text as well as sophisticated type treatments in layouts.
30” Cinema HD Display (Mfr # M9179LL/A • B&H # APCD30) ...............................................................................................................................................................1729.00
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1068
COMPUTER VIDEO
APP L E
MACBOOK PRO
Take the latest mobile processor from Intel, sophisticated system
architecture, loads of memory, bigger hard drives, and cutting-edge
graphics, and you have the force behind every creative endeavor. The
MacBook Pro has the performance, power, and connectivity of a desktop
computer—without the desk part. Starting at just 5.4 lbs. MacBook Pro
is a full-featured notebook encased inside one inch of sturdy aluminum.
MacBook Pro makes your ideas even more brilliant with a sharp,
high-resolution screen. Choose the15.4”, 1440 x 900-pixel or the
17” 1680 x1050-pixel LED backlit digital display, with glossy and
anti-glare options. Or choose the optional high-resolution17” LED
backlit model for the optimal viewing experience. The high-resolution17” LED backlit display is lighter, more power efficient,
and delivers full screen brightness the instant you turn it on.
MacBook Pro features an advanced trackpad with amazing Multi-Touch technology. You can flip through photos, enlarge
text, and adjust an image using just your fingers. And your hands have room to spread out on the full-size keyboard with
crisp, responsive keys. MacBook Pro has a built-in ambient light sensor that adjusts the keyboard and display brightness
so it’s easy to work in low-light settings such as airplanes and conference rooms.
F EATURES
◆ Multi-Touch technology from iPhone and
iPod touch comes to MacBook Pro in an
amazing new Multi-Touch trackpad. Pinch,
swipe, or rotate to enlarge text, advance
through photos, or adjust an image.
◆ MacBook Pro has a standard hard drive up to
◆ Power adapter with MagSafe connector is a
magnetic connection instead of a physical
one. So, if you happen to trip over the power
cord, you won’t send MacBook Pro flying. The
cord simply disconnects, without damage to
either the cord or the notebook.
250GB and up to 4GB of RAM. So there’s
more room for even bigger ideas.
◆ Connect storage, multimedia devices, and
high-speed peripherals to MacBook Pro.
Along the sides, you’ll find a FireWire 400
port, a FireWire 800 port, a DVI port, optical
audio in and out ports, and an ExpressCard
slot. There are three USB 2.0 ports on the 17”
MacBook Pro and two on the 15” models.
◆ Connect an Apple Cinema Display to
expand your desktop and lose nothing in
translation. That’s because the DVI
connection gives you a pure digital signal
from system to display. View more than 4
million pixels on a 30-inch Apple Cinema HD
Display, powered by the NVIDIA GeForce
8600M GT graphics processor.
unprecedented attention to audio detail. For
musicians on the go, MacBook Pro offers
pristine sound through crisp, clear stereo
speakers, a built-in microphone, and optical
digital audio on both input and output.
MacBook Pro Systems
◆ Intel Core 2 Duo processors run at speeds up
to 2.6GHz on a groundbreaking 45nm
process technology with up to 6MB L2
cache. Which means you can encode video,
render effects, and open and manipulate
large images that much faster.
◆ MacBook Pro sounds as good as it looks, with
All Include Class on Demand Basic Training DVD for Mac OS X Leopard FREE!
15” MacBook Pro Notebook Computer: Includes 2.4GHz Intel Core 2 Duo CPU, 2GB (2x1GB) RAM,
200GB 5400rpm Hard Drive, 8x SuperDrive, nVIDIA GeForce 8600M GT 256MB Graphics, 15” LED
Backlit Widescreen Display, iSight Webcam, Bluetooth 2.0+EDR, 802.11n AirPort Extreme and Mac
OS X Leopard software (Mfr # MB133LL/A • B&H # APMBP24S15N) ...........................................................................CALL
Customized 15” MacBook Pro Notebook Computer: Same as above except with 15” Glossy LED
Backlit Widescreen Display (Mfr # Z0EY-065A • B&H # APMBP24S15NG) .................................................................CALL
17” MacBook Pro Notebook Computer: Includes 2.5GHz Intel Core 2 Duo CPU, 2GB (2x1GB) RAM,
250GB 5400rpm Hard Drive, 8x SuperDrive, nVIDIA GeForce 8600M GT 512MB Graphics, 17”
Widescreen Display, iSight Webcam, Bluetooth 2.0+EDR, 802.11n AirPort Extreme and Mac OS X
Leopard (Mfr # MB166LL/A • B&H # APMBP25S17) ..........................................................................................................CALL
Customized 17” MacBook Pro Notebook Computer: Same as above except with 17” Glossy LED
Backlit Widescreen Display (Mfr # Z0F2-065K • B&H # APMBP25S17G) ....................................................................CALL
High Resolution 17” MacBook Pro Notebook Computer: Includes 2.5GHz Intel Core 2 Duo CPU,
2GB (2x1GB) RAM, 250GB 5400rpm Hard Drive, 8x SuperDrive, nVIDIA GeForce 8600M GT 512MB
Graphics, 17” High Resolution Widescreen Display, iSight Webcam, Bluetooth 2.0+EDR, 802.11n AirPort Extreme and Mac OS X Leopard (Mfr # Z0F2-065P • B&H # APMBP25S17H) .................................................CALL
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FINAL CUT EXPRESS 4
Powerful Video Editor for DV, HDV and AVCHD Formats
Based on award-winning Final Cut Pro, the affordable Final Cut Express 4 adds support for the
latest AVCHD cameras, allows mixing of standard and high definition content on a single
timeline, and gives users access to hundreds of sophisticated FxPlug cinematic effects and filters.
Open format timeline lets users mix and match DV, HDV and AVCHD material, in realtime, using
the same editing and trimming tools found in Final Cut Pro. Supporting both1080i and 720p HD
resolutions, Final Cut Express 4 automatically performs the necessary scaling, cropping and
frame rate adjustments. When starting projects from scratch, the setup automatically configures
everything based on the first clip dropped on the Timeline.
Final Cut Express 4 features advanced editing capabilities such as multiple layers of
video and graphics, picture in picture effects and animated titles. It includes over 50
FxPlug filters, including Soft Focus, Vignette and Light Rays. With enhanced audio
controls, users can automatically raise any clip to its maximum level without
distortion using the Soft Normalize and Gain controls. Final Cut Express 4 also
features LiveType 2, which provides an intuitive environment for creating dynamic
and fun animated titles and includes an extensive library of animated fonts,
textures, templates and effects.
F EATURES
◆ Edit footage captured in such popular video
formats as DV, HDV, and AVCHD. Or export
iMovie ’08 projects, putting professional
polish on them in Final Cut Express.
◆ Capturing DV and HDV footage is as simple
as connecting a camcorder to your Mac and
keeping an eye on the Capture window to
select what you’d like transferred. Preview it
full screen on your primary or secondary
display whenever you want. Final Cut Express
supports both standard-definition DV and
high-definition 1080i and 720p HDV.
◆ Edit video captured with the most popular
AVCHD devices, using the Log and Transfer
tool to access video recorded to disks, memory cards, or DVDs. Select the clips you want,
then transfer them to Final Cut Express. It’s
never been easier to work with HD content.
◆ Edit like a pro, mixing different video formats
in its open format Timeline and using the
same precision editing tools enjoyed by
moviemaking pros.
◆ Based on the industry-leading editing tools
in Final Cut Pro, you can edit in the Timeline
or with the innovative Edit Overlay tool.
Choose from a comprehensive set of edit
options, including insert, overwrite, fit-to-fill,
and more. To add clips, simply drag them
into the Timeline.
◆ Ready for more advanced editing tools?
Working in the Timeline or a dedicated Trim
window, fine-tune your edits with ripple,
roll, slip, slide, extend, and shorten. These
pro-level trimming tools, combined with the
principles of three-point editing, let you
experiment with complex variations and
edits. That includes “L cuts,” where the audio
and video start at different times.
◆ Build the perfect mix using multiple audio
tracks, keyframe automation of audio levels,
advanced audio filters, and a Soft Normalize
and Gain feature for more audio control.
◆ Enhance audio with included Audio Units
◆ No need to worry about formats, frame rates,
or conversions. Final Cut Express 4 provides
an open format Timeline that accommodates
DV (NTSC/PAL) and HD footage. It even lets
you edit clips from multiple formats in real
time simultaneously.
filters as Reverb, EQ, Echo, and Delay. The
Soft Normalize and Gain feature analyzes
sound clips, automatically raising clips to
their maximum level without distortion.
You can even adjust audio filters in real
time, listening to your work in progress and
modifying it as the track plays.
◆ Creating a documentary? Achieve professional
results by using the Voice Over tool to record
your narration. Final Cut Express 4 lets you
create quick scratch tracks or add a voiceover
track as your video plays. Besides offering a
countdown cue, the Voice Over tool records
“before start” and “after stop,” providing
handles for your recorded audio.
◆ Mix up to 99 audio tracks using pans, levels,
and the 3-band EQ. Set keyframes on each
audio track to adjust level and pan settings
over the length of a clip. Import music from
GarageBand and combine it with sound
effects and voiceover to craft a complete
multitrack audio mix.
◆ Add dramatic animated text to your project
using LiveType. It features the exclusive LiveFont animated font technology and provides
an extensive library of textures and effects.
◆ Hundreds of preset animations and text
effects let you create eye-popping animated
titles in record time. Use them as is; customize
them with fades, zooms, and motion; or
develop your own. It’s easy — and fun.
Once you achieve the desired result, save
your new text effects for use in other projects.
Final Cut Express 4: Video Editing Software for
Mac OS X (Mfr # MB278Z/A • B&H # APFCE4) .......179.95
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FINAL CUT STUDIO 2
The most powerful production suite on the planet, Final Cut Studio 2 take you
beyond mere editing. With the intuitive power of creative tools designed
expressly for Final Cut Pro editors, you can rapidly move through editing to
motion graphics, audio editing and mixing, color grading, and delivery — all as
a natural extension of the work you already do.
Final Cut Studio 2 is fast, fluid, and flexible. Use a laptop on location and a
desktop in the studio. Start with the tools you already use today and extend
your reach when you’re ready. Start working quickly with intuitive tools and
familiar interfaces. Whenever you’re ready for precise control, a comprehensive
set of features is just a click away.
Everything you need in a single product, each application in Final Cut Studio 2
has been designed with Final Cut Pro editors in mind. The industry-standard for independent filmmakers, Hollywood film
editors, corporate video and event producers, and editors with hourly deadlines cutting broadcast spots or network news,
almost one million creative professionals the world over have made Final Cut Pro their first choice for editing.
In addition to Final Cut Pro 6 with Apple’s ProRes 422 format for uncompressed HD quality at SD file sizes and support for
mixed video formats and frame rates in a single timeline, Final Cut Studio 2 includes Motion 3 featuring an intuitive 3D
environment, paint and new behaviors; Soundtrack Pro 2 with dozens of innovative tools for multitrack editing, surround
mixing and conforming sound to picture; Compressor 3 delivering powerful batch encoding for multiple formats with a
single click; and DVD Studio Pro for SD and HD DVD authoring. Final Cut Studio 2 also includes “Color,” a professional
color grading and finishing application for ensuring consistent color and creating signature looks.
Final Cut Studio 2 is not just a product. It’s a platform. Open standards give developers and partners the freedom to create
custom solutions. With XML to share project data and QuickTime to seamlessly move media between systems, Final Cut
Studio 2 can fit into virtually any production pipeline or newsroom.
Edit: Use Final Cut Pro 6 for native editing of any format — from DV
and SD up to HDV, XDCAM HD, DVCPRO HD, and fully uncompressed HD.
Or use ProRes 422 for uncompressed HD quality at SD file sizes. Drag
clips with different formats and even different frame rates into the open
format Timeline.
Animate: Create stunning 2D and 3D motion graphics in real time
with Motion 3, the fastest and most intuitive way to animate and express
your creative vision. Drag and drop to make dramatic particle effects
explode into 3D space; form vector-based paint strokes with the swish
of a pen. Motion master templates let you edit text and drop in video
without leaving Final Cut Pro.
Grade: Give your production a signature look or create a consistent
feel for shots from different sources. Color offers professional color
grading that can elevate the quality of any production.
Mix: Record and edit dialogue, add music and effects, and
complete your mix with ease. Soundtrack Pro 2 lets you work
faster than ever in its streamlined interface. You can even
produce in surround sound using innovative visual tools. If
you make changes to your edit in Final Cut Pro, you can rapidly
update your audio mix with the powerful Conform feature in
Soundtrack Pro.
Deliver: Use Compressor 3 to create pristine-quality output
for a wide range of delivery formats — including the web, iPod,
iPhone, Apple TV, and broadcast servers. A streamlined new
interface lets you batch-process encoding with point-and-click
ease. If film is your destination, use Cinema Tools to output film
lists that combine timecode and keycode in a single list. Or use
DVD Studio Pro for professional DVD authoring and mastering.
Final Cut Studio 2 Production Software Suite for Macintosh: Includes Final Cut Pro 6 (page 1051-1053), Motion 3 (page 1054), Soundtrack Pro 2 and
Color (page 1055), Compressor 3 and DVD Studio Pro 4 (page 1056). (Mfr # MA886Z/A • B&H # APFCS2) ....................................................................................................CALL
Magnet Media: Inside Final Cut Studio Consisting of 7 DVDs, you get over 35 hours of comprehensive training on Final Cut Pro 5, Motion 2, DVD
Studio Pro 4 and Soundtrack Pro. No more costly classes, phone calls to help lines or time-consuming trial and error (B&H# MAFCST) ...........................249.95
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FINAL CUT STUDIO 2 / FINAL CUT PRO 6
Emmy Award-Winning
Editing Software
The first choice of professional editors worldwide, Final Cut Pro 6
delivers high-performance digital nonlinear editing, native
support for virtually any video format, and facility-class
extensibility and interoperability. Its workflow extends through
the other Final Cut Studio applications and Final Cut Server for
even more power. Whether you’re working solo or collaborating
with a team, Final Cut Pro gives you more creative options and
technical control than ever before.
Wide Format Support
With native support for virtually any format, Final Cut Pro 6 lets you edit virtually anything with the highest possible quality. Edit everything from uncompressed SD to HDV, DVCPRO HD, and uncompressed HD — as well as Panasonic P2 and Sony XDCAM HD/EX tapeless formats. Or use ProRes 422,
Apple’s post-production format, for uncompressed HD quality at SD file sizes. Mix and match a wide range of formats and even frame rates in the open
format Timeline. If you edit film, use the redesigned interface in Cinema Tools 4 to work faster than ever, with customizable lists that let you combine
timecode and keycode in a single document.
◆ Mix and match source material in a wide
◆ ProRes 422 post-production format
offers uncompressed HD quality
at SD file sizes. Use ProRes 422 when collaborating on an Xsan storage
network, when working with non-native camera formats, or to preserve
maximum quality for composites and demanding color grading work.
range of formats and even different frame
rates. Just drag your footage into the Timeline. Freely edit a combination of HD and SD,
including NTSC and PAL, all in real time. Offers real-time scaling and playback for video
in various camera-native formats as well as
Apple ProRes 422. Watch the QuickTour
◆ Use the Log and Transfer function in Final Cut Pro for ingesting
◆ Edit virtually anything natively, so you get pristine quality from the
first cut to the final output. No need to transcode video from cameranative formats — no matter whether it’s coming from a DV, HDV, or
DVCPRO HD camera. Output will always be as stunning as the original
source. Final Cut Pro 6 supports a wide range of standard definition
and high-definition formats.
Panasonic P2 files or Sony’s free XDCAM Transfer software for
ingesting 18-, 25-, and 35Mbps XDCAM HD/EX footage. Preview shots
before you bring them in, add In and Out points, and incorporate
metadata before you transfer files to save time when you get to the
edit. Ingest tapeless files in the background at high speeds while you
continue to edit or preview other material.
◆ With support for the Apple Intermediate Codec, Final Cut Pro 6 can
import and work with media and projects from the most recent
versions of iMovie HD and Final Cut Express HD.
Cinema Tools 4 for Film
Cinema Tools 4 offers convenience for traditional film workflows. Deeply integrated with Final Cut Pro 6, it features a streamlined interface that lets
you work quickly and easily. The film lists produced by Cinema Tools 4 are completely customizable and can include both timecode and keycode in
the same list. Easily export your lists as XML and import them into industry-standard tracking systems used to pull film negatives. You can even output
beautifully formatted, easy-to-read PDF lists to use for reference or to share with clients.
◆ Manage keycode and timecode data
◆ In digital editing, you can use the same clip
associated with your projects shot on film or
scanned to DPX or Cineon files. Cinema Tools
is a database application that tracks clips and
sequences back to their original film frames
or scanned files for final finishing. Export film
lists with timecode and keycode in both PDF
and XML formats. Use the pulldown removal
functions to turn 29.97 video into 23.98 and
modify 25fps footage to edit at true 24 fps.
repeatedly without creating physical
copies. Cinema Tools includes a list of
digital dupes in the cut list. This information
helps filmmakers reduce costs by
eliminating unwanted dupes. Dupes that
remain in the list alert the negative cutter
that additional copies of the film footage
are required. The cut list identifies optical
effects as well.
◆ To edit film footage digitally, you convert
footage to digital video, using a film-to-tape
telecine process. Transfer film footage to any
of a wide range of SD and HD video formats
supported by Final Cut Pro 6. Then edit the
same way you would cut original video, using
the 24p frame rate required for film. Cinema
Tools 4 tracks the edits and outputs the
information you need to conform the original
camera negative for your final film out.
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FINAL CUT STUDIO 2 / FINAL CUT PRO 6
Incredible Real-Time Effects
Add visual interest to any production with the rich set of effects and visualization tools built into Final
Cut Pro 6. Experiment freely and iterate quickly. You’ll see the results of your changes in real time as
you work, with no need to waste time waiting for renders. Final Cut Pro is built for speed. RT Extreme
delivers real-time performance for more than 150 filters and effects as well as for multistream video.
Dynamic RT adjusts image quality and frame rate on the fly for optimal playback on any system. Use
the SmoothCam feature to automatically stabilize shaky shots while preserving standard camera
moves. Easily swap out video clips and edit text in motion graphics without leaving Final Cut Pro,
using editable Motion 3 master templates.
◆ RT Extreme with Dynamic RT delivers real-time performance for DV,
SD, HDV, DVCPRO HD, and fully uncompressed HD video. RT Extreme
delivers real-time playback of over 150 effects — as well as multiple
streams of video used for picture-in-picture effects and multicamera
editing. Dynamic RT analyzes your system’s capabilities and adjusts
video playback quality and frame rate on the fly. If you prefer, set preferences to favor playback quality or frame rate as the video plays back.
◆ More than 150 real-time capable filters and effects, many of which use
high-resolution 32-bit float image processing to produce stunning
film-quality results. Extend your repertoire even further by bringing in
3rd party filters based on the FxPlug standard — the same format
used to produce the extraordinary real-time effects in Motion.
◆ Smooth out shaky scenes without altering zooms, pans, dollies, and
other standard camera movements. The SmoothCam feature in Final
Cut Pro 6 uses sophisticated optical flow technology to analyze and
adjust your problem shots. SmoothCam works in the background, so
you can edit other material while it analyzes the shaky footage.
◆ Motion 3 master templates for Final
Cut Pro make it easy to update content such as video clips, titles, and
lower thirds, while preserving the underlying motion graphics. The
templates include video drop zones and editable text fields that let
you rapidly create multiple versions, all without leaving Final Cut Pro.
◆ Final Cut Pro 6 includes a comprehensive set of real-time color correc-
tion tools, including primary and secondary color correctors; image
control filters; broadcast-safe filters; tools for matte and key operations
as well as luma and chroma range checking; real-time scopes and
monitors; and a frame viewer for comparing your shots.
◆ Preview a digital cut of your HD video full screen — complete with
real-time effects — using Digital Cinema Desktop. Evaluate your edit
full screen on a single display. Or use a second display for video
output. Even if you’re working on a MacBook Pro, you can view the
video full screen or create an impressive screening for clients with a
second high-resolution display or projector.
Comprehensive Editing Tools
A complete set of professional editing and trimming tools lets you work quickly, while a full range of customization options gives you flexibility and
control. Use powerful multicamera editing tools to view and cut video from multiple sources in real time. Mix up to 24 channels of audio with the
onscreen mixer or use a Mackie Control Protocol device with faders. When you’re finished, output frame-accurate video at stunning quality. The faster
the tools, the more time you have to be creative.
◆ Final Cut Pro 6 provides a full set of industry-leading editing and trim-
ming tools. Edit in the Timeline or with the innovative Edit Overlay
tool. Choose from a comprehensive set of edits, including Insert,
Overwrite, Replace, Fit-to-fill, Superimpose, Add Edit, or Swap Edit.
Then fine-tune your choices with Ripple, Roll, Slip, Slide, Extend, and
Shorten, either in the Timeline or a dedicated Trim window.
◆ All the tools that professional editors expect — three-point editing,
JKL keyboard navigation, match frame, multitrack and asymmetric
trimming, extend and split edit functions, and more.
◆ Cut multi-camera footage as quickly as if you were switching a live
show. Simultaneously view and cut from multicamera sources using
the intuitive 1-, 4-, 9-, or 16-up display. You can also group up to 128
sources into multiclips, adding and subtracting cameras at any time.
◆ Customize window layouts and Timeline track sizes; customize
Browser column order, width, and layout; and adjust font size in the
Browser and Timeline. Then zoom through your work with customizable
access to more than 600 commands; create keyboard shortcuts — or
add buttons to the user interface — for the commands you use most.
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◆ Work with 24 channels of audio input/output at up to 24-bit, 96kHz
resolution. Freely adjust your mix without altering the original audio
files. Adjust levels using the onscreen mixer or ride multiple faders at
the same time on any Mackie Control Protocol (MCP) device. The Soft
Normalize and Gain feature analyzes and automatically raises the level
of any clip to its maximum without distortion.
◆ Apply high-quality Audio Units filters — such as Reverb and EQ —
without leaving Final Cut Pro. Audio Units filters are also used in
Soundtrack Pro, so that you can continue to adjust your effects if you
send your project to Soundtrack Pro for additional mixing.
◆ High-quality scale and rotate algorithms ensure that picture-in-picture
effects or effects with rotation look crisp and beautiful. Other features
include enhanced gamma processing for high-definition video; 32-bit
floating-point filters; and frame-accurate precision for editing to tape.
◆ Use the Final Cut Pro Media Manager for project-, sequence-, or
clip-level operations. Quickly and accurately copy, move, and
consolidate projects. Search, sort, and sift right in the Browser to
rapidly find the assets you need for your project.
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FINAL CUT STUDIO 2 / FINAL CUT PRO 6
The Hub of Final Cut Studio 2
Final Cut Pro 6 extends its power through the other applications in Final Cut Studio 2. Finish editing
with professional color grading, add sophisticated 2D and 3D motion graphics, and mix surround
sound or stereo soundtracks. Output to multiple delivery formats, all at pristine quality. Or create a
professional DVD in SD or HD resolution. Deep integration with the full range of Apple professional
products further extends the Final Cut Pro platform.
◆ If you want to give your finished project a specific cinematic look –or if
you need to do significant color correction across the entire project –
send your project to Color for advanced color grading with round-trip
ease. Sequence metadata from Final Cut Pro is preserved when you
send your project back and forth between Final Cut Pro and Color.
◆ More and more feature films are produced with Digital Intermediate
(DI) workflows. DI workflows are used for productions that are shot on
film, scanned to a high-resolution 4 :4:4 2K data format, edited digitally, and then released on film, as digital cinema, or as high-definition
video. Some studios skip the film original and go direct to tapeless
DPX video by shooting with a high-resolution camera such as the
Thomson Viper.
◆ Edit a DI in Final Cut Pro 6 using ProRes 422 proxies, then send your
project to Color for color grading and final output using the original 2K
DPX media. Render out DPX files for the final film out or digital cinema
master while retaining 4:4:4 2K quality. For broadcast or video release,
you can output high-quality 10-bit ProRes 422 or uncompressed HD.
◆ Send a Final Cut Pro project to Motion complete with cut points,
layering, motion paths, retiming, and SmoothCam information. Add
dynamic 2D and 3D graphics, with or without video. When you save
your project in Motion, the updated content appears in Final Cut Pro.
◆ Complete basic audio editing and mixing in Final Cut Pro, then send
your project to Soundtrack Pro to enhance audio tracks with additional plug-ins, dialogue, music, Foley, and sound effects. Mix for surround sound, stereo, or both at the same time. Soundtrack Pro also
repairs problems such as clicks, pops, or hums. Use the Conform feature to automatically update your audio project to match your video
edit after you make changes in Final Cut Pro. Bring your surround
sound mix back into Final Cut Pro and monitor your audio in full 5.1.
◆ Send shots to Motion whenever you want to make additional
SmoothCam and retiming refinements. You can also use Motion 3 to
create editable templates — with video drop zones and text fields —
for repeated use in Final Cut Pro.
◆ Productions today are distributed in multiple formats, which may
include formats for the web, iPod, iPhone, Apple TV, and digital cinema.
Send Final Cut Pro projects to Compressor 3 for easy batch processing
output of multiple files to multiple formats, all at pristine quality.
◆ To author a DVD in SD or HD resolution, begin by sending your Final
Cut Pro project to DVD Studio Pro 4. Chapter information from Final
Cut Pro will automatically be read into DVD Studio Pro for authoring.
◆ Motion picture studios and digital effects houses use Shake 4 to create
effects for some of the world’s most celebrated films. Send clips from
Final Cut Pro 6 to Shake; Shake converts Final Cut Pro 6 cuts and layers
to a node tree for final compositing.
◆ Capture once, save time, and share media with multiple editors
simultaneously using a consolidated storage pool powered by Xsan.
Media management tools in Final Cut Pro make reconnecting and
working with media in shared environments easy. Workgroup editors
can adjust real-time effects playback based on available SAN bandwidth.
◆ Final Cut Pro 6 works seamlessly with Final Cut Server, Apple’s software
for asset management and post-production workflow automation.
Drag assets from Final Cut Server into Final Cut Pro for immediate use.
Or bring assets from other sources into Final Cut Pro; the assets will be
added to the catalog when you check your project back into Final Cut
Server. Use Final Cut Server on a LAN or WAN, or use the power of Xsan
to share media across a large number of workstations.
Open, Extensible Architecture
You’re an independent filmmaker. Or you edit in a commercial post house. Or you’re a video journalist cutting stories on the hour for a global news
network. No matter who you are or how you work, Apple’s open-standards approach lets you use a favorite third-party tool or even create best-in-class
custom systems for large-scale workflows — all through the open architecture and natural extensibility of the Final Cut Studio platform.
◆ Final Cut Pro 6 uses XML to track and manage all of the
thousands of actions and assets that go into an edit.
Developers use the format to create applications that
seamlessly share project data with Final Cut Pro. These
range from cool tools to specialized high-end systems
for broadcast. With XML interchange, the sky’s the limit
with Final Cut Pro.
◆ FxPlug is the default plug-in format for filters and
transitions in Final Cut Pro 6 offering astonishing
quality through GPU-accelerated 32-bit float
processing. Dozens of leading developers are using
the FxPlug standard to create hundreds of
extraordinary effects that can be used in Motion,
Final Cut Pro, or both.
◆ Final Cut Pro supports the full range of QuickTime formats. QuickTime is flexible enough to contain virtually any type
of media — all the way from DV up to fully uncompressed, high-bit-depth video at HD resolutions. This means that
developers can easily create products that are interoperable with Final Cut Studio.
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FINAL CUT STUDIO 2 / MOTION 3
Motion Graphics Software
Motion 3 takes the complexity out of 3D by extending the 2D tools you already
use. With its intuitive interface and rich toolset, the only limit is your imagination.
Send particles exploding through space. Swing cameras around an object with
breathtaking ease. Squiggle a vector-based paint stroke in 3D through the
cosmos. Motion 3 lets you create 3D motion graphics with drag-and-drop
ease, startling performance, and unprecedented color fidelity.
Intuitive Real-Time Design Environment
◆ Powerful real-time design engine lets animate in real time, and even
modify your animation while it’s playing back. Use Motion toexperiment with wild abandon. Press a key or swish a pen. Slide a fader back
and forth. Drag a behavior, then drag another one on top of it.
◆ Use intuitive heads-up displays and drag-and-drop tools to accom-
plish the basics with ease. If you want to tap into the full power of a
feature, a single click reveals a comprehensive set of controls for
timing adjustment, keyframe editing, and parameter settings.
◆ Apply behaviors for a rapid, fluid approach to animation. Take
advantage of full keyframe curve editing for fine-grained precision. Or
mix and match. Behaviors are used to produce natural-looking motion
and realistic simulations of interactions among objects.
◆ Behaviors can also be used to trigger sets of parameters, like the
Audio behavior that automatically synchronizes your animation to a
soundtrack. Choose from over 100 behaviors to set things in motion.
◆ Keyframe Editor lets you draw animation curves in a flash. Squish,
stretch, and reposition groups of keyframes using the flexible transform box. Motion 3 lets you use time-saving keyboard shortcuts to call
up curves for position, opacity, rotation, scale, shear, and anchor point.
3D Motion Graphics
◆ Fly through 3D space, with behaviors that let you drag and drop to set
up cameras that dolly, truck, and orbit around a scene or move from
layer to layer. You can even set up multiple cameras and cut between
angles to create dynamic multicamera animations.
◆ Create additional drama by animating directional, point, or spot lights
with control over light intensity, falloff, color, and more. Easily create
your own 3D paths as you move objects through space. With 2D and
3D compositing intelligently integrated in a flexible, intuitive interface, Motion takes you into new dimensions of creativity.
◆ Use particles, Replicator patterns, paint, text behaviors, and motion
paths — along with composited images — to create a unified 3D
design. Set up dazzling particle systems to explode and travel in
3D space.
◆ Choose a 3D behavior to send objects rocketing around 3D space.
To create astonishing title sequences, just apply a 3D text behavior;
the Text Sequence behavior produces wavelike animations through
characters, with full 3D rotation and positioning changes. If you’re in a
gestural frame of mind, use pressure-sensitive brush strokes in the
new paint feature and animate the strokes through 3D space.
www.bhphotovideo.com
Breathtaking Filters and Effects
◆ Use any object, including a QuickTime movie, as a particle shape.
Apply multiple objects to a simple particle emitter to create more
elaborate effects. Use particles to create animated backgrounds or
real-world effects like smoke or sparkles. In Motion 3, particles can
explode into 3D space or swirl around other objects in your scene.
◆ Select a shape, such as a grid, spiral, 3D sphere, or 3D box, then modify
it until you get the effect you want. Bring Replicator patterns into 3D
groups to move cameras around them or to combine them with other
animations in 3D space. Create amazing motion graphics in minutes.
◆ Turn a simple brush stroke into swirls of chocolate, floating feathers, or
glowing light trails with a simple menu selection. Create pressure-sensitive paint strokes and give them dramatic 3D looks.
◆ Bring in a clip with a speed change set in Final Cut Pro and refine it in
the Keyframe Editor. Or apply revolutionary new retiming behaviors
that let you change the speed of the clip and set ramp in and ramp
out parameters — all while your video continues to play back.
◆ Attach text, particles, or any layer to an object in a video clip and fol-
low the movement of the object. Extract precise motion paths from a
moving image, like a a bus that travels through a shot; then flawlessly
integrate a new side-panel billboard that moves as the bus moves.
◆ If you’ve been handed a shaky shot, Motion 3 can correct it quickly
and easily. Use the stabilizer to lock down a shot without the timeconsuming setup required by most stabilization tools. Or use the new
SmoothCam feature, which retains camera moves like pans, tilts, and
zooms, while algorithmically eliminating handheld camera jitters.
◆ Motion 3 includes more than 150 GPU-accelerated filters and effects
that can operate at 32 bits per pixel for extraordinary quality. Have fun
with effects such as Underwater, Glass Block, and Insect Eye; or choose
from a wide variety of standard effects including blurs, distortions, and
color correction filters. Expand your palette of options even further by
bringing in third-party FxPlug filters and effects.
Time Saving Features
◆ Move projects into and out of other applications in Final Cut Studio
without a second thought. When you bring Final Cut Pro sequences
into Motion, they retain editable cuts, layers, and retiming effects.
◆ Send Motion 3 master templates to Final Cut Pro — complete with
drop zones for video and fields for editable text — and update them
without leaving Final Cut Pro.
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FINAL CUT STUDIO 2 / SOUNDTRACK PRO 2
Soundtrack Pro 2 offers unprecedented convenience and power to editors. Fly through
audio editing and mixing with a streamlined interface that combines the multitrack
Timeline and Waveform Editor in a single view. Easily create immersive soundtracks with
innovative surround sound tools. Automatically conform your audio edit to changes
made in your video edit. With its familiar interface and intuitive tools, Soundtrack Pro is
the Final Cut Pro of audio post-production.
◆ Streamlined interface allows video editors to work efficiently with familiar tools, while
simultaneously providing the depth and control that audio professionals need to
complete even the most complex projects.
◆ Whether you’re performing a simple crossfade or comprehensive audio post-produc-
tion, Soundtrack Pro 2 gives you a full range of professional tools for precision editing,
audio restoration, processing, and mixing — all with unparalleled video integration.
◆ Cinematic sound. Revolutionary control. Eerything you need to create immersive surround mixes for your video. Whether you’re mixing a multimil-
lion-dollar blockbuster or an independent film, creating an enveloping cinematic soundtrack has never been easier.
◆ Synchronize changes from your video edit by using
integrated audio conform process. Work in Final Cut Pro, change the picture edit, and then automatically compare and conform the audio project in Soundtrack Pro 2. There’s no need to comb through EDLs or build elaborate change lists.
Soundtrack Pro takes the tedium out of the conform process, while offering you complete control over which changes to accept, modify, or reject.
◆ Powerful integration with Final Cut Studio. Seamless interchange with other applications. Soundtrack Pro 2 gives you everything you need to tackle
the most complex audio post-production tasks, with the flexibility to work the way you want.
FINAL CUT STUDIO 2 / COLOR
Apple’s professional color grading application.
Quickly and easily experiment with primary and
secondary color grade adjustments for SD, HD, and
even 2K projects. Color lets you preview the results —
at any resolution — in real time. When you have
just the look you want, render at stunning quality
and blazing speeds. Color uses GPU-accelerated
processing to produce RGB output in resolutions up
to 4:4:4 with 32-bit float processing. Color makes it
easy for editors to create signature looks for projects ranging from short video pieces to full-length theatrical films.
Intuitive Task-Based Workflow
◆ Color uses a task-based workflow that is organized logically into eight
“rooms,” or workspaces, designed to offer streamlined access to just
the tools you need. Start with Primary In for foundational grading,
then use any other room in any order until you’re ready to render
through the Render Queue room.
◆ The tools in Color extend from a familiar Timeline, color wheels, and
standard scopes to an intuitive new 3D Color Space scope. Editors will
find it easy to use Color because of their experience with Final Cut Pro.
◆ Create custom mattes to quickly isolate an object or area in the frame
for additional enhancements or effects. Automatically track and adjust
your changes over subsequent frames with complete control. To apply
advanced effects, choose from more than 35 professional effects and
over 20 looks built into Color. Use them alone or combine them in a
variety of ways to create completely custom effects.
◆ Create a signature look for a single production or apply a unified look
to a series of productions. Get started fast by choosing one of more
than 20 looks provided as custom effects in the Color FX Bin, then
modify the look and save it for later use. You can also save a color
grade, complete with primary and secondary adjustments, and reuse it
on other projects. Experiment freely with up to four “live” grades at a
time and save the ones you like best. You can even import and use
grades created by professional colorists or other editors.
◆ Easily send a project round-trip between Final Cut Pro and Color. Video
layers, effects, titles, and all of the other XML metadata from Final Cut
Pro are preserved when you return to Final Cut Pro for finishing and
final output. You can even use Final Cut Pro and Color together for
Digital Intermediate workflows, complete with the ability to render
out DPX files at full 4:4:4 2K quality.
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COMPUTER VIDEO
APP L E
FINAL CUT STUDIO 2 / COMPRESSOR 3
With increasing demand for media distribution in multiple formats —
ranging from HD broadcast to an iPod screen — it’s more important than
ever to be able to output files efficiently while keeping quality high. The
streamlined interface of Compressor 3 lets you quickly configure batch
processes for encoding to a wide range of industry-standard formats. Or
create format and standards conversions at pristine quality through
sophisticated optical flow technology. For the ultimate high-speed workflow,
set up distributed encoding over a shared-media network powered by Xsan.
Streamlined Encoding Workflow
Pristine Format Conversions
Compressor 3 makes encoding easy and efficient, whether you are
outputting a single file or delivering multiple files in multiple formats.
Drag and drop intelligent presets to set up batch templates that you
can save for later use. With a customizable interface, powerful audio and
video filters, and a dynamic Preview window, Compressor is designed to
give you total creative control over your encoded media.
Using Apple’s optical flow technology, Compressor 3 produces pristine
format and standards conversions — including standards conversions
for international distribution and gorgeous SD to HD up-conversions.
Change frame rates, convert between progressive and interlaced video,
or perform reverse telecine processing — all while maintaining the
quality of the original source.
Industry-Standard Encoding Support
Distributed Encoding
Use Compressor 3 to create files for delivery on iPod, Apple TV, the web,
DVD, mobile phones, and next-generation Blu-ray and HD DVD discs.
Compressor 3 makes it easy with support for leading industry-standard
formats, such as MPEG-2 and H.264. Expand your encoding choices with
the new Episode Pro plug-in from Telestream that supports VC-1, WMV,
GXF, and FLV output as well as proprietary formats for broadcast servers.
Use the Qmaster application included in Compressor 3 to distribute
encoding jobs across a network of Mac systems. The AutoCluster option
instantly configures clusters of available computers. Set up Qmaster to
run rendering jobs for motion graphics, encoding jobs, or a combination
of the two. For maximum speed in workgroups, configure a network
powered by Xsan.
FINAL CUT STUDIO 2 / DVD STUDIO PRO 4
DVD Studio Pro 4 makes it easy to extend your creative vision to
every aspect of DVD authoring. Whether your project is simple
or sophisticated, you’ll enjoy using familiar, easy-to-use tools to
produce the perfect presentation of your SD or HD content. A
comprehensive set of advanced features is available whenever
you want more control. You don’t have to be a programmer to
author a DVD using DVD Studio Pro 4. It easy to get started on a first project,
then add sophistication over time with powerful, intuitive tools. Choose one of
three interface configurations or customize and save your own views. Drag and
drop to design menus and set up connections to your content, quickly choose transitions, and build engaging slideshows with
ease. Best of all, you can preview and test your work in real time, with no need to create a DVD image or burn a disc.
◆ DVD Studio Pro 4 offers support for authoring a wide range of
projects, from quick DVD dailies to complex commercial titles. Build
the tracks for your project by using a familiar timeline, with up to
nine video angles, eight audio streams, and 32 subtitle streams for
each track. Explore the Story feature to create multiple playlists, or
use point-and-click scripting tools to create interactive elements
like games and quizzes. You can even take advantage of advanced
features for memory management and disc layout.
www.bhphotovideo.com
◆ Whether you burn a one-off disc on your Mac Pro or send a title out for
commercial replication, you can have confidence that your DVDs will play
back on a wide range of set-top players and computers. Burn your own
discs in a wide variety of formats, including double-layer DVDs. For commercial replication, choose one of the traditional red laser formats or double the capacity on your HD DVD disc by using a blue laser format. Add
commercial features to SD titles, including copy protection flags used by
replicators, region coding, and jacket picture art.
COMPUTER VIDEO
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FINAL CUT STUDIO 2 TURNKEY SYSTEMS
Final Cut Studio 2/Mac Pro Turnkey System
System includes 2.66 GHz quad-core Mac Pro; 4GB (4x 512MB, 2x 1GB)
RAM; 2 TB (4x 500GB) SATA hard drive; 500GB G-Raid2 external RAID 0;
16x dual-layer SuperDrive; nVIDIA GeForce 7300 GT 256MB graphics;
Airport Extreme, Bluetooth 2.0+EDR; Mac OS X 10.5 Leopard; 3-year
AppleCare; Bella keyboard for Final Cut Studio
Final Cut Studio 2/Mac Pro (B&H # APFCSMP1) ...................................................Call
Final Cut Studio 2/Mac Pro Turnkey System
System includes 3.0 GHz eight-core Mac Pro; 4GB (4x 1GB) RAM; 1.75TB
(1x 250GB, 3x 500GB) hard drive; 500GB G-Raid2 external RAID 0; 16x
Dual-Layer SuperDrive; ATI Radeon X1900 XT 512MB graphics; Airport
Extreme, Bluetooth 2.0+EDR; Mac OS X 10.5 Leopard; 3-year AppleCare;
Bella keyboard for Final Cut Studio
Final Cut Studio 2/Mac Pro (B&H # APFCSMP2Q) ................................................Call
Final Cut Studio 2/Customized 17” MacBook Pro Turnkey System
System includes 2.4 GHz Intel Core 2 Duo CPU; 2GB (2x 1GB) RAM; 160GB
7200rpm hard drive; 500GB G-Raid2 external hard drive; 8x SuperDrive;
nVIDIA GeForce 8600M GT 256 MB; 17” widescreen display; Bluetooth
2.0+EDR, AirPort Extreme; Mac OS X Leopard; 3-year AppleCare. The
MacBook Pro weighs 6.8 lbs, and the G-Raid2 weighs 3.85 lbs.
Final Cut Studio 2/17” MacBook Pro (B&H # APFCSMBP).................................Call
AJA Io Breakout Box Mac Pro Turnkey System with Final Cut Studio 2
System includes 2.66 GHz quad-core Mac Pro; 4GB RAM (4x 512MB, 2x
1GB) RAM; 2TB (4x 500GB) SATA hard drive; 16x dual-layer SuperDrive;
AJA Io Breakout Box; nVIDIA GeForce 7300 GT 256MB graphics; Airport
Extreme; Bluetooth 2.0+EDR; Mac OS X 10.5 Leopard; 3-Year AppleCare;
Bella Keyboard for Final Cut Studio.
Final Cut Studio 2/Mac Pro/AJA Io Breakout Box (B&H # AJIOTA) .............Call
AJA Kona LHe Mac Pro Turnkey System with Final Cut Studio 2
System includes 3.0 GHz quad-core Mac Pro; 4GB RAM (4x 512MB, 2x
1GB); 2TB (4x 500GB) SATA hard drive; AJA Kona LHe video capture card;
2.5TB Ciprico MediaVault SCSI Array; 16x dual-layer SuperDrive; nVIDIA
GeForce 7300 GT 256MB graphics; Airport Extreme; Bluetooth 2.0+EDR;
Mac OS X 10.4; 3-year AppleCare; Bella Keyboard for Final Cut Studio.
Final Cut Studio 2/Mac Pro/KONA LHe (B&H # AJKONALHETZ) ......................Call
AJA KONA 3 Mac Pro Turnkey System with Final Cut Studio 2
System includes 3.0 GHz eight-core Mac Pro; 4GB RAM; 1TB hard drive;
4TB PRO DQ Array; KONA 3 with Breakout Box; Boris Graffiti 5.2; Final Cut
Studio 2; AppleCare (B&H# AJKONA3TF) .................................................................Call
Blackmagic Decklink HD
Mac Pro Turnkey System with Final Cut Studio 2
System includes 3.0 GHz eight-core Mac Pro; 4GB (4x 1GB) RAM; 1.75TB
(1x 250GB, 3x 500GB) hard drive; Blackmagic Decklink HD Pro; 2.5TB
Ciprico Fibre-Channel Array; 16x dual-layer SuperDrive; ATI Radeon
X1900 XT 512MB graphics; Airport Extreme; Bluetooth 2.0+EDR; Mac OS
X 10.5 Leopard; 3-year AppleCare; Bella Keyboard for Final Cut Studio.
Final Cut Studio 2/Mac Pro/Decklink HD (B&H # BLDLHDPDLPEZ) ...............Call
Blackmagic Decklink HD
Mac Pro Turnkey System with Final Cut Studio 2
System includes 3.0GHz quad-core Mac Pro; 4GB (4x 512MB, 2x 1GB)
RAM; 2.75TB (1x 250GB, 3x 500GB) hard drive; Blackmagic Decklink HD
Extreme video capture card; 2.5TB Ciprico MediaVault SCSI Array; 16x
dual-layer SuperDrive; nVIDIA GeForce 7300 GT 256MB graphics; Airport
Extreme; Bluetooth 2.0+EDR; Mac OS X 10.5 Leopard; 3-year AppleCare;
Bella Keyboard for Final Cut Studio.
Final Cut Studio 2/Mac Pro/Decklink HD (B&H# BLDLHDXMT) .....................Call
AJA IoHD/17” MacBook Pro
Turnkey System with Final Cut Studio 2
System includes 2.4GHz Intel Core 2 Duo CPU; 2GB (2x 1GB) RAM; 160GB
5400 rpm hard drive; 1TB G-SATA eSATA hard drive array; AJA IoHD; 8x
SuperDrive; nVIDIA GeForce 8600M GT 256MB graphics; 17” widescreen
display; Bluetooth 2.0+EDR; 802.11n AirPort Extreme; Mac OS X 10.5
Leopard, 3-year AppleCare, it weighs 6.8 lbs.
Final Cut Studio 2/MacBook Pro/AJA IoHD (B&H # AJIOHDPT) ....................Call
AJA IoHD Breakout Box
Mac Pro Turnkey System with Final Cut Studio 2
System includes 3.0GHz eight-core Mac Pro; 4GB (4x 1GB) RAM; 1.75TB
(1x 250GB, 3x 500GB) hard drive; AJA IoHD; 3TB G-SPEED Fibre-Channel
RAID; 16x dual-layer SuperDrive; ATI Radeon X1900 XT 512MB graphics;
Airport Extreme; Bluetooth 2.0+EDR; Mac OS X 10.5 Leopard; 3-year AppleCare; Bella Keyboard for Final Cut Studio.
Final Cut Studio 2/Mac Pro/AJA IoHD (B&H # AJIOHDT).................................Call
Blackmagic Multibridge Pro
Customized Mac Pro Turnkey System with Final Cut Studio 2
System includes 3.0GHz dual Intel Dual-Core Xeon 5100 Series CPU; 4GB
(4x 512MB, 2x 1GB) RAM, 1TB (2x 500GB) SATA hard drive; Blackmagic
Multibridge Pro video capture breakout box; 2.5TB external SCSI RAID;
16x dual-layer SuperDrive; ATI Radeon X1900 XT 512MB graphics, Airport
Extreme; Bluetooth 2.0+EDR; Mac OS X 10.5 Leopard; 3-Year AppleCare.
Final Cut Studio 2/Mac Pro/Multibridge Pro (B&H # BLDLMBPMTQ) ...........Call
Multibridge Eclipse/Mac Pro Final Cut Studio 2 Turnkey System
System includes 3.2GHz Eight-Core Mac Pro; 4TB Dulce PRO DQ Array;
Blackmagic Design Multibridge Eclipse; Boris FX Graffiti 5.2;
Final Cut Studio 2; Pro Series Keyboard for Final Cut; 3-year AppleCare
(B&H # BLDLMBEQT1) ......................................................................................................Call
Multibridge Pro/Mac Pro Turnkey System with Final Cut Studio 2
System includes 3GHz Eight-Core System; 2TB Ciprico MediaVault 5108
Array; Blackmagic Design Multibridge Pro; Boris FX Graffiti 5.2; Final Cut
Studio 2; 3-Year AppleCare (B&H # BLDLMBPMTQ) ...............................................Call
Multibridge Pro/Mac Pro Turnkey System with Final Cut Studio 2
System includes 3GHz Quad-Core System; 2TB Ciprico MediaVault 5108
Array; Blackmagic Design Multibridge Pro; Boris FX Graffiti 5.2; Final Cut
Studio 2; 3-Year AppleCare (B&H # BLDLHDXMT)..................................................Call
(212) 444-6601• 1-800-947-9901• Quick Dial 831
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COMPUTER VIDEO
APP L E
SHAKE 4.1
Advanced Digital Compositing
Optimized to run on Intel-based Macintosh computers, Shake 4.1is priced to fit even
the tightest production budgets. Used to create the world’s most celebrated visual
effects, Shake provides the only compositing software with a complete toolset for both
single artists and visual effects facilities. With Shake 4.1, you can leverage the creative
work you’re producing in Final Cut Studio, extending it with an integrated workflow
that puts a wide range of tools—e.g., sophisticated 3D multi-plane compositing,
32-bit Keylight and Primatte keying, cutting-edge Optical Flow image processing,
smooth stabilization, image tracking, and an open, extensible scripting program—at
your fingertips. You can, for example, drop Motion 2 projects directly into Shake to
create a powerful graphics and effects combination; then render the resulting project
using the shared OpenEXR format for film quality reproduction. The result: now everyone who uses Final Cut Studio has
the power to create the most sophisticated film and television visual effects—without breaking the budget.
F EATURES
Unified 2D/3D Compositing
Shake delivers the most efficient compositing operations for handling large
images with pristine quality. From full 32-bit float Keylight and Primatte
keyers to OpenGL-accelerated 3D multi-plane compositing, no other visual
effects software delivers as complete a toolset for individual artists and full
visual effects facilities.
◆ Multi-plane compositing is integrated into
the node view, making it seamless to jump
from 2D paint, rotoscoping and image
processing into a 3D layered composite.
◆ Adding a multi-plane node allows you to
“plug in” any number of layers for 3D compositing. Match CGI-rendered elements with
live-action scenes by importing 3D tracking
data from applications including Maya, Boujou and Pixel Farm. Your layers remain highly
interactive while you work, thanks to
OpenGL hardware-accelerated previews.
◆ Import Photoshop layers with blend modes
◆ Change the resolution and bit-depth during
the compositing process as many times and
wherever you wish. Output a film-resolution
32-bit plate and an 8-bit video-resolution
image simultaneously. Shake allows you to
work in 8 bits, 16 bits, or 32 bits per channel,
all within the sameproject: No need to have
all compositing operations in a project at the
same bit depth. You optimize the project,
using 16- and 32-bit operations where
needed while performing quick 8 bit
operations as well.
◆ Customizable quad split viewer
◆ Since every effect in Shake is a distinct node
that you can insert into a node tree, use the
Node View to select, view, navigate and organize the functions that comprise the node
tree. In the Node View, you can access any
part of your composite. As you view and select the controls for each node, you can
modify them while looking at the final render. You can, for example, paint on a frame
that rotates 3D space without viewing the
frame in adifferent window.
◆ In Shake, you can mask a layer or an effect to
control which areas of an image are affected.
For sophisticated animations, you can
keyframe each mask or track each point on
the rotoshape and apply a photo
realistic motion blur.
◆ Includes Primatte and Keylight—industry-
standard keyers, that operate with full 32-bit
float precision to ensure the continuation of
high bit depth throughout a project.
Whereas other packages take a “one-keyerfits-all” approach to keying, Shake allows you
to combine keys to achieve the best results.
www.bhphotovideo.com
◆ Truelight — a complete HD-to-film or film-
to-film color management system from Filmlight — is integrated directly into Shake for
pre-visualizing the look of projected film images on LCD and CRT displays. Use Truelight
3D Cube technology to accurately predict
the look of your HD or film imagery when
printed, without unnecessary film-outs.
◆ Create multiple shapes within one rotoshape
node while modifying soft-edge falloff controls independently on each control point.
◆ Boolean and Image Math layer operations
◆Fully editable node grouping/ungrouping
◆ Channel swapping and copying
◆ Constraint of any operation to channel, field,
tolerance or region
◆ External masking capabilities for every
operator
◆ Audio scratch track support on Mac OS X
◆ Support for third-party plug-ins including
The Foundry, GenArts and RE: Vision Effects
COMPUTER VIDEO
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SHAKE 4.1
Advanced Image Processing
The choice of Oscar
Winning effects artists
over the past 10 years,
Shake now offers a host
of new features that give
you the highest quality
output for film and HD.
Use Shake to create
convincing, photorealistic,
Hollywood-caliber
visual effects on a desktop — and on a budget.
◆ Optical Flow technology uses pixel-by-pixel
image analysis to create smooth retiming, incredible high quality resizing and automatic
stabilization. The results are cleaner, sharper
and more natural-looking images.
◆ A sophisticated method of motion estima-
tion that automatically tracks an image pixel
by pixel in order to create “new” frames,
Shake’s Optical Flow-based retiming gives
you smooth slow motion effects at amazingly low frame rates. Shake can nonlinearly
retime any clip, allowing you to ramp forwards and backwards though a clip.
◆ Use Smoothcam to smooth out bumpy cam-
era moves or eliminate camera movement
altogether. Smoothcam uses Optical Flow
technology to remove camera jitter from
static shots without setting tracking points.
Smoothcam even revives unusable shots by
correcting uneven pans across a scene.
◆ Powerful tracking technology that follows
the movement of pixels over a series of
frames to create “motion paths” you can attach other elements to. Shake’s tracker allows you to define various parameters to
automate tracking of even the most difficult
shots. Attach trackers to paint strokes,
warper shapes or even individual points on a
mask shape.
◆ Use shape-based morphing and warping in
Shake to achieve fantastic shape-shifting or
seamless corrective effects.
◆ Integrated directly into Shake, morphing and
warping shapes use the standard spline
tools, making it more intuitive to create and
modify an effect than with mesh-based
warping tools. Unlike hardware-based warping tools, Shake employs software-based
rendering for fine precision. Apply trackers
to shapes and create moving morphs and
warps faster: The Shake warping engine
takes full advantage of dual processors.
◆ Combine multiple source images in to a sin-
gle panorama with Auto-Align, an Optical
Flow analysis-based transform node. Use
Auto-Align to align, warp and luminance
match images that overlap either horizontally or vertically. Unlike similar photographic tools, Auto-Align works with both
stills and image sequences. This means you
can, for example, turn three side-by-side
shots or an expanse of action into a single,
extremely wide-angle background plate.
Filters
• Film grain simulation
• Extremely fast, high-quality Gaussian blurs
• User-definable Convolves
• Grain, Median, Sharpening, Embossing, Edge
Detection, Radial and Z-Depth-based Blur
Paint
• Procedural, pressure-sensitive vector-based
paint
• Insert Paint nodes anywhere in the process
tree
• Clone, reveal and smudge paint modes
• Optical Defocus; Dilation/Erosion
• Apply tracking data to paint strokes
• Image-driven Blurring, Sharpening or
Dilation
• View Paint strokes in context of transforms
• Keying
• 32-bit Photron Primatte chroma keyer
• Included 32-bit CFC Keylight chroma keyer
• Chroma, Luma, Difference or Z-Depth keying
• Spill suppression
Warps
• Switch interpolation modes at any time:
single frame, persistent and frame to frame
interpolation
Animation
• Animate virtually any slider or toggle
• Flexible split window animation curve
editing
• Automatic or manual key framing
• Shape-based warper and morpher nodes
• Copy/Paste Key frames
• New Lens warp node
• Randomization and turbulence
• View audio wave forms against animation
curves
• Twirl and Pincushion
• Drive parameter animation based on audio
• Image- and expression-based warping
• Overlapping Key controls for moving, interpolating and replacing control vertices
Rotoscoping
• Curve controls for maintaining keyframe
slopes and values over a range of frames
• Multiple Bezier style Rotoshapes per node
• Resample function
• Independent animation control
• Non-uniform edge blurring
• Linking of any parameter to any other
parameter
• Non-uniform, velocity-based motion blur
• Expressions on any parameter
AppleShake 4.1 for Mac OS X - Single User License (Mfr# MA434VA B&H# APS41) ..........................449.95
Shake 4.1 for Mac OS X - Volume Authorization (Mfr # MA434Z/A • B&H # APS41ORB) .....................498.95
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COMPUTER VIDEO
AVID
MEDIA COMPOSER
World’s Most Powerful and Refined
Film and Video Editing Software
The editing system that started it all —real-time, multiformat editing —plus all the creative tools, media
management, and true facility-wide collaboration that
makes it the best editor on the planet. An affordable,
flexible, hardware-independent film and video editing
solution for Mac and Windows, Media Composer is the
application used to create more of the world’s films,
television shows, and commercials than any other
editing system, and it's more powerful than ever.
Media Composer works with DVCPRO HD, HDV, and Avid
DNxHD on both the PC and Mac. Using the optional Avid
DNxcel board, editors can also encode HD material into Avid DNxHD resolutions of 145 Mb, 220 Mb, and10-bit 220 Mb data
rates. Composer’s advanced features include enhanced real-time multi-cam functionality, motion tracking and stabilization
tools, Long GOP splicing for superior HDV performance, and full-screen SD and HD monitoring via DVI using the host graphics
card for both Mac and PC.
Provides collaborative media production environments by offering workflow-intelligent tools that connect directly to Interplay,
Avid’s nonlinear workflow engine. Leveraging the Interplay engine, Media Composer users can perform many time-consuming
production tasks in the background, and monitor changes to all project assets made by team members as the creative process
evolves. In addition, users have a window into all shared workgroup content, allowing them to easily browse through every
asset used on a project – including media and non-media files.
Media Composer also includes two industry breakthroughs – Avid ScriptSync, a next-generation script-based editing tool that
uses phonetic speech recognition technology to automatically sync text with media; and Avid DNxHD 36, the industry’s most
efficient HD codec for offline editorial, which runs at a data rate of 36 Mb/s ), only slightly greater than the data rate of DV25
media, but at full-raster HD resolution.
F EATURES
Open Timeline
HD Support
◆ Avid DNxHD encoding (8- and 10-bit 4:2:2) at
◆ Media Composer offers all the support you need to mix multiple formats and resolutions in the
1080i at 59.94, 50 fps; 1080p at 25, 24, 23.976
fps; 720p at 59.94, 23.976 and 50 fps.
same timeline—in real time—so you can keep the creativity flowing. Combine HD, SD, DV, and
film formats and resolutions, as well as Avid AVR and Meridien JFIF media without rendering,
transcoding, or re-digitizing. Edit native DVCPRO HD and HDV media. Take advantage of realtime, mixed-format multicam editing.
◆ Native DVCPRO HD support for 1080i 59.94,
50 fps; 720p at 59.94, 23.976 and 50 fps.
◆ Variable Frame Rate support - take advantage
◆ Save time with direct capture of media and “tapeless” workflows: no need to shuttle through
of Panasonic’s wide range of frame rates and
get slow motion effects without having to
render using 720p 23.976 or 720p 59.94
project types.
tapes looking for a shot. Native MXF support provides direct integration of Sony XDCAM and
Panasonic P2 formats into an Avid workflow. Edit straight from Panasonic P2 cards or high-speed
file transfers. Sony XDCAM support offers native editing of Long-GOP proxies, DV, and highresolution IMX media.
◆ Native XDCAM HD support for 1080i at 59.94,
◆ Part of the end-to-end file-based workflow, “write-back” functionality allows editors to send clips
50 fps; 1080p at 25, 23.976 fps
◆ Native HDV support for 1080i at 59.94,
50 fps; 1080p; 720p at 29.976 fps.
and sequences over FireWire to XDCAM discs (as IMX, DVCAM or XDCAM HD) and P2 cards (as
DVCPRO or DVCPRO HD). Both formats offer increased levels of portability, access and cost-effectiveness that are just as efficient for archiving and distribution as they are for acquisition.
www.bhphotovideo.com
COMPUTER VIDEO
AV I D
1081
MEDIA COMPOSER
Editing Features
Intuitive. Faster trim tools. The industry’s most
accurate and reliable film editing workflow. No
other application offers the features and
functionality of Media Composer.
◆ Advanced trimming tools
◆ Real-time Multicam (9 screens SD,
3 screens HD)
◆ Motion Tracking and Stabilization featuring
SteadyGlide
◆ Media consolidate and transcode between
resolutions
New! Media Composer Nitris DX
Professional Film and Video Editing with Comprehensive
SD and HD I/O and DNxHD Acceleration
When you edit high-profile films, television programs, or commercials for a living,
your editing system becomes an extension of yourself. Media Composer Nitris DX
integrates the Media Composer toolset with the new Avid Nitris DX hardware for a
remarkably responsive, high performance, multi-codec SD and HD editing solution.
The result is the most powerful Media Composer system ever built.
◆ The Nitris DX architecture tightly connects the host workstation and PCI Express I/O
◆ 24 video and audio tracks (unlimited video
layers via nesting)
◆ 24 MetaSync tracks
hardware into a single high-bandwidth, high-performance effects engine. The architecture is optimized for highly responsive real-time editing using the latest generation of
HD codecs, including HDV, XDCAM-HD, DVCPRO HD, AVC-I, and Avid DNxHD.
◆ Refined editing tools, integrated media management, and seamless conform help you
◆ Full Film Composer toolset
◆ Render uncompressed effects independent
of clip resolution
stay focused on telling the best story. And Avid's Open Timeline lets you juggle formats
and ideas - offering real-time editing and playback of multiple SD and HD resolutions.
◆ Native integration of P2, XDCAM-HD, and HDV formats lets you focus on editing. Its the
◆ Real-time equal power audio dissolves
perfect solution for HD offline. Need to go out to DVD, Blu-ray, or the Web? Sorensen
Squeeze and Avid DVD by Sonic (PC only) are included for multi-format output.
◆ Scrolling timeline
◆ Match shots quickly with the industry-standard Avid color correction toolset. Push
◆ 4:3 and 16:9 support
the envelope with SpectraMatte keying, Fluid Motion time effects, Boris Continuum
Complete, Avid FX and a wide range of third-party AVX2 plug-ins.
◆ DV Scene extraction
◆ Support for 24P normal and advanced
pulldown capture over IEEE1394 and
SD- SDI/Analog
◆ PAL 24P and 25P
Avid Mojo SDI
◆ Video Archive for SD video rate projects
◆ Edit while capture (Avid Interplay required)
◆ Native 23.976, 24, and film editing with 24 to
23.976 sequence conversion
◆ Can work at MPEG GOP structures smaller
than the standard 15 frames. This allows
users to export HDV material without having
to render the entire sequence, saving
valuable time in the editing room.
◆ Record up to 4 channels of audio directly to
the timeline without having to capture and
then edit the material. During complex
dialogue replacement or narration, multiple
voices can be recorded into the timeline, for
a huge time savings.
Integrated Titling and Graphics
◆ Real-time uncompressed graphics and titles
◆ 2D and 3D titling including Marquee
◆ Rolling and crawling titles
Portable Digital and Analog I/O
Compact enough to take on location yet powerful enough
to serve as the core of a professional video editing suite,
the optinal Avid Mojo SDI is a hardware I/O that connects
to Mac or PC laptop and desktop systems via FireWire
(IEEE1394) cable. Unlike other add-on hardware, it lets you
capture audio or video while also providing output of the
same source, so you can monitor what you’re capturing,
including watching video on a client monitor while
recording voiceover – impossible with hardware from
other manufacturers. In addition, Avid Mojo SDI lets you
monitor and output HD timelines in SD with real-time down-convert.
In addition to serial digital video, Avid Mojo SDI also provides I/O for IEEE1394, and either
component or composite and S-video. Mojo SDI supports up to 8 channels of embedded
audio over SDI and 2 channels of optical S/PDIF audio, with additional connections for 4
channels of AES/EBU audio. Offers simultaneous output to both monitors and tape, and
features Genlock and Word Clock for video and audio sync with external devices.
Media Composer with Avid Mojo SDI gives you SDI input/output, composite, S-Video and
component input/output. For audio you four channel analog, four channel AES/EBU, two
channel optical S/PDIF, 8 channels of SDI embedded, audio sync output, realtime audio
mix to picture, support for Digidesign AudioSuite plug-ins and real-time multiband EQ.
Avid Mojo SDI. (Mfr # 7010-06812-01• B&H # AVM) .....................................................................................CALL
◆ User-savable title style sheets
(212) 444-6601• 1-800-947-9901• Quick Dial 831
COMPUTER VIDEO
1082
AVID
MEDIA COMPOSER
Streamlined Workflows
Effects & Compositing
• Motion tracking and stabilization with
SteadyGlide™ – enables editors to smooth
shaky camera footage while maintaining desirable camera motion, such as pans and tilts.
• Real-time customizable 3D effects, including
Warp, Picture-in-Picture, Corner Pinning,
Shapes, Video Titles
• Real-time Dissolves, Superimposition, Resize,
Flips, Flops, Wipes, Conceals, Squeezes,
Masks, and Picture-in-Picture
• Capture and playback off-speed frame rates
from tapes and files created by Panasonic
Varicam cameras. Camera operators can
choose off-speed frame rates (using 720p
23.97 or 720p 59.94 project types) with the
comfort of knowing that they will be seamlessly reproduced in the editing process.
• Real-time Moving Mattes
• Real-time Chroma and Luma keys
• Real-time full-motion alpha keying
• Non-destructive compositing on unlimited
layers
• Customizable rampable motion effects UI
including FluidMotion™
• Supports all AVX™ 1.5 and AVX 2.0 plug-ins
including 3rd party real-time plug-ins
• ExpertRender renders just the effects needed
• Intraframe Paint, AniMatte, Scratch Removal
• Pan & Zoom creates video from high-res stills
• Deep Defocus, blur, mosaic
• Reformat tools for aspect ratio management
• Full/Draft Quality mode for maximum performance
• Create incredibly smooth slow-motion effects and “fit-to-fill” video using patented
pixel morphing technology. Control speed
and position using intuitive curve-based
keyframing. Apply the look of 24 fps progressive frame rates to 30 fps interlaced sources
with the exclusive FluidFilm feature.
• Pulling a key with 8-bit formats such as
DVCPRO HD can be tricky. Create higherquality keys and play them back in real time
with high quality SpectraMatte chroma keyer
featuring 16-bit SpectraGraph technology.
An interactive environment eliminates guesswork, letting editors achieve a perfect key.
• Native 10-bit Boris Continuum Complete
(version 4) effects and filters
The unified Avid editing environment and seamless conform closes the gap between editing and
finishing and eliminates the need to re-build creative editorial work in the online suite. Remote
Play and Capture allows editing systems to act as networked source/record devices. Support for
the Avid Interplay nonlinear workflow engine adds background media management, transfers,
and encoding for facility-wide collaboration over Avid Unity shared media networks.
• Edit while capturing media from an AirSpeed
or Media Composer (requires Avid Interplay)
• Total Conform of bins, sequences, edits,
composites, audio settings, effects, and Avid
media with Avid Xpress, Media Composer,
Film Composer, and Symphony systems
• Advanced conform with Avid DS Nitris
• Panasonic P2 import and export support for
DVCPRO and DVCPRO HD
• AAF import/export
• MXF or OMF native media
• Windows Media HD and SD encoding
• Photoshop layers and After Effects support
• 24-bit audio file compatible with Pro Tools
systems with AFE
• Sony XDCAM support including MPEG 4
proxies, IMX and XDCAM HD
• DI metadata management for file-based
offline workflows
Encoding for Web + Interactive Delivery
Collaborate with others across town, across the country, or across the globe. The DigiDelivery
media delivery system provides safe and secure direct export right from the editor. An e-mail
driven user interface makes it a fast, cost-effective way to review and approve every phase of a
project.
• Encoding of WMV HD and Windows Media 9,
H.264 MPEG4, MPEG 1&2, QuickTime, Flash,
and RealMedia
• WMV HD for high definition content on
today's DVD-ROMs
• QuickTime Reference Movie output
• Push-button export of Windows Media (ASF),
QuickTime 7.0 , and MPEG-2
• Sonic DVDit
• Sorenson Squeeze
• SmartSound SonicFire Pro
Superior Media Management
Organize, label, and locate all your media sources and assets quickly and easily. Move and rename
clips without losing links—all occurrences are automatically updated. Intuitive, customizable
media management features are built into the Avid editing environment and are designed for long,
complex projects.
• Multi-level find, sift, and sort functions
• Frame, script, and text views
•Unlimited number of bins
• Media Consolidate feature
• Folder hierarchy (nestable folders) within
Project Window
• Advanced project accounting tools
• User, project, and site settings
• Ability to lock media
• Supports Avid Interplay for facility-wide
search and display and local or remote asset
management
Full Screen Play over DVI Output
Content creators can utilize lighter, less expensive LCD monitors for viewing full screen playback of
SD and HD output connected via standard DVI connectors. No need for expensive bulky CRT-based
HD monitors.
www.bhphotovideo.com
COMPUTER VIDEO
AV I D
1083
MEDIA COMPOSER
10-bit Color Correction
Save time and money with fast, accurate color
correction tools based on award-winning Avid
Symphony finishing technology. One click automatically analyzes and color corrects an entire sequence, allowing editors to create
matching sequences quickly and easily.
• Real-time professional-level color correction
tools
• Patented One Step AutoCorrect
• NaturalMatch for easy tone matching
• Real-time keyframeable color effects
• Three-monitor color correction windows
• ChromaCurve and ChromaGraph display
• Advanced Waveform & Vectorscope monitors
• Split-screen client monitoring
Professional Film Tools
The industry's most powerful and precise 24p
technology lets you handle film and video
projects with equal ease and efficiency. Features such as real-time pulldown of 24p media
directly over IEEE-1394 (FireWire) eliminate
time-consuming conversions and offers
greater flexibility to output to video or film.
Academy Award winning Avid Film Composer
film metadata management features are built
in to every Media Composer system. Save time
and eliminate costly errors with real-time capture of normal pulldown and automatic audio
and video source synchronization. Stay focused with Script-based Editing and Webbased film cutlists. Accelerate your film
workflow with seamless Timecode, KeyKode,
DPX, VXF, and UNC metadata tracking.
Latest Features
◆ Supports Sony XDCAM-EX (using the Sony
Clip Browser software), Panasonic AVC-I &
JVC 23.976p & 25p HDV
◆ Improved real-time performance for non-
full-raster HD codecs
◆ MetaFuze tool, for quickly merging single-
frame files (such as DPX and TIF) from film
scanning or CGI systems into a single media
clip. (Windows only)
◆ Real-time multi-window timecode burn-in
tool
◆ SubCap subtitling tool
Media Composer (Mfr # 7500-20000-01• B&H # AVMCS)
Editing Software for Macintosh/Window ......................................................................................................CALL
Avid 1-Year Assurance for Media Composer (Mfr # 0540-03627-01• B&H # AVA1YMC)
Assurance for Media Composer from Avid is a 1-year support contract
that gives you access to Avid's top-tier technical support. The contract
covers Avid Liquid, giving you such benefits as extended telephone
support hours, advanced replacement and preferred pricing on Avid
replacement parts, access to the Avid web-based knowledge base,
automatic software updates and a subscription to the Avid inFocus
eNews newsletter.............................................................................................CALL
Avid Media Composer Turnkey
System with Avid Mojo SDI
Professional editors understand the importance of
concentrating on their work rather than tinkering with
a computer to get it working correctly. B&H turnkey
systems let editors do what they do best: edit. B&H
backs this system with a full year of technical support.
This ensures that your system will run smoothly and
allow you to concentrate on your work. Custom built
by B&H to take your creativity to the next level, this
system is built around the HP xw8600 workstation
and comes pre-installed with the Avid Media
Composer software editing suite.
System Includes:
◆ HP xw8600 Workstation
◆ Quad-Core 2.83GHz Intel Xeon System
◆ 750GB ATA Internal Hard Drive
◆ 1.25 TB SCSI RAID
◆ 4GB (4x1GB) RAM
◆ nVIDIA Quadro FX 1700 Graphics
◆ Atto ExpressPCI UL4D PCI-X Dual-Channel Ultra320 SCSI Host Adapter
◆ 20x Internal Dual-Layer DVD Burner
◆ Avid Mojo SDI
◆ Avid Media Composer Software installed
◆ World Tech Specialist Keyboard
◆ Windows XP Professional
Avid Media Composer Turnkey System with Avid Mojo SDI (B&H# AVMCMST) ..............................CALL
Manhattan Edit Workshop Avid Media Composer 101 (Mfr # AVID101• B&H # MAAVID101)
On-site (New York City) two-day training course for editors, the course introduces the concepts
of nonlinear editing to students. It covers all basic features of Avid Media Composer system for
Mac. The session is divided between demonstration and hands-on practice, allowing ample
time for experimentation with provided sample footage. Attendees will learn how to use
Media Composer to capture and organize source footage, edit sync and non-sync material, trim
sequences, edit audio, create titles, and output work. The course material is also applicable for
Avid Symphony users. For more infomation, visit the Manhattan Edit Workshop website at
www.mewshop.com..........................................................................................................................................999.95
Class on Demand: Complete Training for
Avid Media Composer (Mfr # 90900 • B&H # CLTAMC)
This training will give you the solid foundation needed to
quickly and easily get started with Avid Media Composer.
Learn to edit like a pro regardless of past software experience.
Award-winning editor, Steve Hullfish, will guide you through a
series of information-packed lessons. Cutting the Promo,
Settings, Capture and Import, Organizing, Basic Editing Tips,
Trimming, Audio, Effects, Color Correction, Output and Export
and more..............................................................................................199.95
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1084
COMPUTER VIDEO
AUTO M AT I C D U C K
PRO IMPORT AE 4.0
Import Avid or Final Cut Pro Timeline
into Adobe After Effects
With Pro Import AE for Adobe After Effects, your system has never been more powerful or
complete. Pro Import AE completely and accurately imports timelines from Avid, Final Cut Pro,
and Apple Motion into After Effects. Media handles, layers, and clip names are preserved,
saving valuable time and effort. Translating a sequence takes just seconds, importing all your
media and clips in one step. Effects are translated and recreated for you and your timeline
becomes a composition in After Effects, ready for you to take your vision to the next level.
Numerous effects are supported, including keyframe and audio import. Supports AAF or OMF
2.0 files from Avid Media Composer, Symphony and Adrenaline.
F EATURES
Support for Avid Features
◆ Accurately imports, translates, and edits all
associated media into the After Effects (AE)
timeline. You can actually slip and trim shots
in AE just as they would any other layer.
◆ When an edit sequence is imported into
After Effects, the layers are named exactly
the same as clips had in their Avid of FCP
timeline. This allows for a much more
streamlined and structured workflow.
◆ Avid Timewarp effect becomes Time Remap-
ping in AE. Want to use the effect as the Avid
did it? Render it and view the render in AE.
Dissolve, Dip to Color, Superimpose, Picture-in-Picture with support for Advanced Keyframes, 3D
Warp with support for Advanced Keyframes, 3D PIP, Submaster, Flops and Flips, X/Y/Z-Spin, Matte
Key, Speed Changes including Timewarps, Strobe, Freeze Frames, Transfer Modes (from Profound
Effects' Transfer AVX plug-in), Title Tool text. Support for all ABVB, DV, DV50, Meridien, DNxHD and
DVCProHD compressions (HDV native media and 720p 1:1 not supported). Support for media
captured to multiple files. Option to reference rendered media
Support for Final Cut Pro Features
Dissolve, Opacity (from motion tab), Position (“center” in motion tab), Rotation and Scale (from
motion tab), Flops and Flips, Distort (from motion tab), Speed Changes, Freeze Frames, Composite
Modes, Clip Markers, Sequence IN/OUT (markers set After Effects work area), Sequence Markers,
Text, Time Remapping, all Final Cut Pro media files, DVCPRO HD and third party After Effects filters.
◆ Advanced interface offers powerful control
over import. You can choose the direction
layers “step” in AE, choose to use Avid render
media, verify FCP media timecode, override
composition settings, and more!
Support for Apple Motion 2 Features
Opacity, Position, Scale, Rotation, Blend Modes, Four Corner, Crop, Markers, Text, nested clips and
layers (become nested comps), Playrange (sets After Effects work area), Media playback (speed is
translated to AE footage fps) and third party After Effects filters.
◆ AE uses the same media files as your NLE, so
no additional storage space is required.
PRO EXPORT FCP 3.04
◆ Translate popular color correction plug-in’s
settings from FCP to AE.
◆ Improved translation including Particles and
Export “Avid-Compatible” OMF compositions from FCP. Or export OMFs
with embedded audio for Pro Tools. Or export an AAF file for Quantel iQ
or eQ Quattro systems. Pro Export FCP 3.04 is Universal, meaning it runs
natively on both PPC and Intel-based Macs. It lets productions get
through post with less pain, in less time, in the end costing less money.
Replicators
◆ Supports multiclips from FCP
◆ Not only are many parameters translated
into After Effects, but keyframes are too!
◆ Export your mix from FCP to your Audio Editor and maintain your
◆ Even the most complex sequences import in
just seconds. The time you save is enormous,
soon you won’t be able to work without it!
Pro Import AE 4.0 Software for Mac
(Mfr # PIAE4M • B&H # AUPIAEM4) ..........................474.95
Pro Import AE 4.0 Software for Windows
(Mfr # PIAE4W • B&H # AUPIAE4W) ..........................474.95
volume keyframes!
◆ HTML Export Log with omplete listing of areas that need attention.
◆ When you export out of FCP all of your sequences media can be embedded into the OMF file
Pro Export FCP 3.04 (Mfr # PEFCP3 • B&H # AUPEFCP3) ..........................................................................474.95
Pro Export FCP 3.04 and Pro Import FCP 2.0 (Mfr # FCP_SUITE • B&H # AUFCPS).......................762.95
www.bhphotovideo.com
COMPUTER VIDEO
AU TO M AT I C D U C K
1085
PRO IMPORT FCP 2.0
Import OMF Compositions
from Avid or Pro Tools into Final Cut
Pro Import FCP 2.0 is the most complete import solution for Final Cut Pro. If you’re using Final
Cut Pro to finish shows offlined on an Avid editing systems, Pro Import FCP is a must-have.
Using Pro Import FCP 2.0 for Final Cut Pro you can import OMF files from Avid editing systems,
OMF files from Digital Audio Workstations like Pro Tools or AAF Edit Protocol files or or AAF
files exported from Toon Boom’s Storyboard Pro!
Pro Import FCP 2.0 is truly the next generation importer, representing a major leap forward in
what is possible as well as making Final Cut Pro an even more powerful solution for finishing
your video projects.
F EATURES
Import from Avid
Import from Pro Tools
• Avid Title Tool from Media Composer 8 or
• Imports timeline and media from OMF
later and Marquee title effects translated into
FCP Text Generators.
• Picture-in-Picture, including keyframes
exports
• 3-D Warp, including keyframes (old-keyframe
model).
• Resize, including keyframes
• Superimpose, including keyframes
• Collapsed layers become nested sequences
• Speed Changes both traditional motion
• Also can import audio-only OMF 2.0 files
effects and time warps
• Strobe
• Dissolves
• Dip to Color Dissolves
• Freeze Frames
• Flops and Flips
• Transfer Modes from Profound Effects’
• Quantizes edits to frame boudaries if needed
• Volume automation import
• Fade effects translated into Final Cut Pro
cross fades
• StoryBoard Pro exports edits from storyboard
into AAF
exported from Final Cut Pro
(old-keyframe model)
Import from Story Board Pro
• Pro Import FCP translates AAF file into FCP
sequence
• Use the “Use existing media” option in Pro
Import FCP to connect FCP to the QuickTime
files generated by StoryBoard Pro
• StoryBoard Pro 1.5 or later required
PRO IMPORT CMB
Import FCP, Avid or Premiere Pro
Timeline into Combustion
With Pro Import Cmb for Autodesk Combustion 3
(Windows) or Combustion 4 (Macintosh) you can very
quickly translate an Avid OMF, Final Cut XML or Premiere
Pro timeline (via AAF) into Combustion. Importing an AAF,
OMF or XML composition takes just seconds, importing all
your media and clips in one step.
Transfer AVX plug-in
• Audio Pan
• Audio Automation Gain keyframe
• 24fps sequence import
• Supported effects are translated and recreated for you, your timeline is recreated as a
composition in Combustion, ready for you to take your vision to the next level.
Pro Import FCP 2.0
(Mfr # PIFCP2 • B&H # AUPIFCP2) .............................474.95
Pro Import FCP 2.0 and Pro Export FCP 3.04
(Mfr # FCP_SUITE • B&H # AUFCPS) ..........................762.95
Pro Import FCP 2.0, Pro Export FCP 3.04
and Pro Import AE 4.0
(Mfr # FULL_SUITE • B&H # AUFULLS) ....................1049.95
• Not only are your edits translated, your media is imported -- All the media referenced
by your sequence. This means you can actually slip and trim your shots in combustion
without having to go back to your NLE to re-edit and re-export!
Pro Import Combustion 3 for Windows (Mfr # IMPORTC3WIN • B&H # AUPIC3W) .....................199.00
Pro Import Combustion 4 for Macintosh (Mfr # PICBM • B&H # AUPICM) ..................................474.95
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1086
COMPUTER VIDEO
BL AC K M AG I C D E S I G N
INTENSITY • INTENSITY PRO
High Definition HDMI Editing Cards
Intensity and Intensity Pro are incredibly small HDMI capture and playback cards that
instantly switch between1080HD, 720HD, NTSC and PAL video. Once plugged into
compatible PCI Express Windows or Mac OS X computers, users get the amazing quality of
uncompressed video via HDMI from cameras, decks and set top boxes, enabling them to
play back to any HDMI big screen television or video projector for video editing, in SD or
HD, and with real time effects. This allows owners of low cost consumer and prosumer
camcorders with HDMI video connections to move beyond the quality limits of HDV
compressed video to a new world of uncompressed editing and design.
Users can benefit from uncompressed video quality, allowing direct-from-CCD recording for the highest uncompressed
quality. Users recording to HDV tape also benefit from HDMI uncompressed capture and editing. Once the HDV footage is
recorded uncompressed via HDMI, and graphics and effects are placed, the edited video will retain full HD resolution and
color depth. The edited footage can then be viewed in real time via the HDMI video output on monitors or projectors.
Intensity’s media files are also fully compatible with Blackmagic Design’s DeckLink and Multibridge capture cards, so users
can output to broadcast tape decks by moving content to these systems.
Stepping up, the Intensity Pro combines the high quality of HDMI capture and playback with the wide compatibility of
analog component, NTSC, PAL and S-Video and analog audio capture and playback.
F EATURES
True HDMI Digital Connections
Go Beyond HDV Video Quality
The cards feature HDMI input for connecting to HD cameras for the highest quality capture.
They achieve higher quality by capturing direct from the image sensor and bypassing the HDV
compression chip. HDMI is fully digital and has no video compression, so it doesn’t suffer from
any image degradation. Unlike DV and HDV Firewire-based video standards, HDMI allows deeper
bit depths and full color resolution, eliminating banding and contouring problems in high quality
video. HDMI is found on the latest HD consumer and prosumer camcorders.
With Intensity, you can now capture and play
back full resolution HDTV uncompressed video
for true broadcast and feature film quality editing. Totally eliminate HDV & DV compression
quality problems, and render much cleaner
graphics while retaining deeper color and
image detail. If you need lower data rate editing, you can also select from a range of professionalcompressed video capture modes.
As edit software can’t play back to HDV cameras for monitoring, the cards are ideal to use for
monitoring uncompressed HD or HDV, and even DV edits on monitors and projectors by
connecting to the HDMI output.
Professional Video Standards
Instantly switch between HD and SD video standards including HDTV 1080i/59.94, 1080i/50,
720p/59.94, 720p/50, NTSC and PAL. Intensity cards allows capture in professional file formats
which are fully compatible with Blackmagic Design’s DeckLink and Multibridge capture cards, so
you can deliver finished television programs, music videos and other work at broadcast standards.
Live Production with On-Air 2.0
Experience the incredible excitement of filming events live. Intensity cards
are bundled with Blackmagic’s On-Air 2.0, which allows two Intensity boards
to be plugged into Mac Pro systems for live mixing between two HD or SD
cameras. On-Air includes everything you need for a live production studio
including camera monitoring, program monitoring, graphic keying and recording to disk. On-Air
2.0 supports auto-sync of video inputs, so users don’t need expensive cameras with genlock.
Featuring “genlock-less” operation, any camera with HDMI outputs will work as an incredibly low
cost solution. Full resolution live HD production is ideal for weddings, education, corporate
production and more. HD has never been so affordable.
www.bhphotovideo.com
Windows & Mac OS X Compatible
Plug into Windows or Mac OS X computers
with the same card, and use your favorite
software, including Final Cut Pro, Premiere Pro,
After Effects, Photoshop, Fusion and many
more. Intensity is fully DirectShow and
QuickTime compatible, which adds HDMI
capture and playback ability to your computer.
Intensity (Mfr # BINTS • B&H # BLI) .....................234.95
Intensity Pro (Mfr # BINTSPRO • B&H # BLIP) ..329.95
Intensity Pro with Premiere CS3 for Mac
(Mfr # BN-ADPRECS3-MAC • B&H # BLIPPPCS3M) .899.95
Intensity Pro with Premiere CS3 for Windows
(Mfr # BN-ADPRECS3-PC • B&H # BLIPPPCS3W) ....939.95
COMPUTER VIDEO
B L AC K M AG I C D E S I G N
1087
DECKLINK SD SERIES
High-Quality Standard Definition Capture Cards
Affordable high-end video for post production or broadcast, DeckLink lets you connect to
SDI digital or analog broadcast decks for high end editing, design, paint and broadcast
graphics. True10-bit SDI capture retains all the subtle detail in your images, even during
multi generation rendering and video processing. When using analog decks such as
Betacam SP, DeckLink SP and DeckLink Extreme models feature analog component YUV
video and balanced analog audio, so you don’t need cumbersome external converters.
All DeckLink cards feature unbalanced AES digital audio out for incredible quality and
sample accurate AV sync. DeckLink unbalanced AES audio outputs are also compatible
with S/PDIF consumer audio, so you can use inexpensive HiFi equipment for audio monitoring.
DeckLink cards can be plugged into either Windows or Mac OS X systems. You can move DeckLink cards between operating
systems allowing you to constantly reconfigure your facility as your needs change.
Six models to choose from, all DeckLink cards have the same powerful features, the only difference being the video and
audio connections between models. Specifically designed with connectivity for different types of broadcast decks, you get
only what you need at the most affordable price.
DeckLink: The original DeckLink is ideal for simple 10-bit SDI
only applications. It features SDI in and out, unbalanced AES output
and RS-422 control with all connections on the rear of the card. It
doesn’t need genlock as it provides a stable SDI output for locking
decks to the card, eliminating the need for a black burst generator.
DeckLink Pro: Ideal for working with SDI equipment, such as
Digital Betacam decks, while using analog monitors without an SDI
input. DeckLink Pro has SDI input and outputs, and also includes
analog component YUV/NTSC/PAL switchable video output, great
for video monitoring. DeckLink Pro also includes genlock input as
well as RS-422 control. DeckLink Pro includes 4 unbalanced AES
outputs, so you can output 8 channels of digital audio de-embedded
from the SDI video output. All connections are on a 7’ break out
cable so you don’t need to purchase any extra cables when building
your editing system.
DeckLink SP: Designed for older analog Betacam SP decks, it
features analog component YUV video input and output, with analog
balanced XLR audio. It also includes unbalanced AES out, 10-bit SDI
output for digital mastering, genlock input and RS-422 control. All
connections are on a long 7’ break out cable for a direct to deck
connection. Available in standard PCI-33/66 or PCI Express models.
DeckLink Extreme: Handling both both analog and digital
connection input/output, the DeckLink Extreme lets you connect
to both digital SDI as well as analog component YUV decks. The
ultimate standard definition card, DeckLink Extreme combines
analog component YUV/NTSC/PAL switchable video and analog XLR
audio in and out, along with digital 10-bit SDI inputs and outputs.
Also included is unbalanced AES output, genlock input and RS-422
deck control. All connections are on a 7’ break out cable. Available in
standard PCI-33/66 or PCI Express models.
THEY ALL FEATURE
DeckLink, DeckLink Pro and DeckLink Extreme cards support full 10-bit
SDI uncompressed video capture and playback for better quality than
any other system - at any price. Ideal for Digital Betacam and Panasonic
DVCPRO 50 decks, true 10-bit SDI capture retains all the subtle detail in
your images, even during multi generation rendering and video
processing. The Blackmagic codec allows 16-bit RGB per channel
rendering preserving the quality of 10-bit video.
When using analog decks such as Betacam SP, DeckLink SP and
DeckLink Extreme feature analog component YUV video and balanced
analog audio, so you don’t need cumbersome external converters.
All DeckLink cards feature unbalanced AES digital audio out for
incredible quality and sample accurate AV sync. DeckLink unbalanced
AES audio outputs are also compatible with S/PDIF consumer audio,
so you can use inexpensive HiFi equipment for audio monitoring.
8 channel SDI audio is supported, perfect for 5.1 and 7.1 surround sound
audio work.
DeckLink Pro includes 4 AES audio outputs for a massive 8 channels of
audio, great for mastering 8 channels to multi-track audio equipment.
When connecting to analog decks, DeckLink SP and DeckLink Extreme
include analog XLR audio I/O for direct analog deck connection.
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1088
COMPUTER VIDEO
BL AC K M AG I C D E S I G N
DECKLINK SD SERIES
Offline Editing
DeckLink cards operate in SD and HD, DV, ProRes
422, JPEG and also support 23.98fps editing. This
makes DeckLink cards great offline tools for feature
film production and other long form editing, such as television series.
Choose Windows or Mac OS X
On Windows, DeckLink supports DirectShow for compatibility with most
video software. For editing, DeckLink includes a full suite of plug-ins for
Adobe Premiere Pro including Deck Control. You can even playback AVI,
QuickTime and still frames files all on the same Premiere Pro timeline
and with multi-channel audio via the ASIO driver. For Mac OS X, they
offer full compatibility with software such as Final Cut Pro, After Effects,
Shake, DVD Studio Pro, iDVD, Combustion and many more.
Flexible File Formats
When used with Mac OS X and Windows systems, you can select from
the highest quality 10-bit and 8-bit uncompressed. When used on Mac
OS X, DeckLink includes support for ProRes 422, DV and JPEG compressed video formats. On Windows, you can choose between AVI and
QuickTime file formats and even play back TARGA and BMP image sequences in the Premiere Pro timeline without rendering. No other card
has such wide support for various file formats and operating systems for
cross platform compatibility. DeckLink uncompressed QuickTime files
can be freely moved between Mac OS X and Windows systems.
Down Conversion and Real Time Effects
When running on Mac
OS X DeckLink cards
feature full broadcast
quality down conversion, so you can instantly master HD edits
to standard definition.
Even the basic DeckLink card can play back uncompressed HD files
and then downconvert to standard definition. Down conversion uses
polyphase interpolation and filtering for incredible quality with
conversion at full 10-bit quality. Even DVCPRO HD multi-layer editing
in Final Cut Pro can be downconverted and played out on all DeckLink
cards in standard definition.
Bundled Software Utilities
All SD DeckLink cards support keying so you can
key graphics over live input video in real time.
Controlled by the Blackmagic LiveKey application,
it’s a snap to switch DeckLink into a keying card.
Key graphics over incoming video on all modes
and in both high definition or standard definition.
◆ For broadcast graphics and paint, they include Photoshop plug-ins for
capture and output of still frames.
◆ If you need DPX image sequences for DI workflow, FrameLink lets you
instantly access QuickTime and AVI media as DPX files.
◆ Blackmagic Deck Control application lets you control a deck remotely
via RS-422. Capture and play clips to and from tape with timecode
accuracy, which is great for broadcast design.
◆ For easy disk array setup, the cards include Blackmagic Disk Speed
Test for real world checking of your capture disk, with speed results
displayed in easy to understand video frames per second.
◆ When moving media between systems, software codec lets you open
and render files even without the DeckLink hardware installed.
Audio Mix-Down
With support for Core Audio on Mac OS X and
ASIO compliant audio drivers on Windows,
DeckLink cards are great when you need to mix
down audio tracks for edits using powerful audio tools.
Realtime Effects with Final Cut Pro
When used with Final Cut Pro, many exciting realtime effects are
supported with DeckLink. These include Cross Dissolve, Non Additive
and Additive Dissolve, Fade in/out, Dip to Color, Sepia, Desaturate,
Brightness and Contrast, Proc Amp, Tint, Gamma Correction and 3 way
color correction. DeckLink cards are fully compatible with Final Cut Pro
RT Extreme built-in effects for unlimited possibilities.
DeckLink cards feature blazing speed 33/66 MHz PCI while retaining
compatibility with older 33 MHz PCI slots. Fast PCI 66 MHz keeps your
system’s PCI bus running full speed. DeckLink SP and DeckLink Extreme
are also available in a PCI Express model for the latest Apple Mac Pro
and Intel and AMD-based Windows systems.
DeckLink (Mfr # BDLK • B&H # BLDL) .........................................................279.95
Frame Accurate
Editing systems based on Final Cut Pro or Premiere Pro using DeckLink,
may be inexpensive but they're certainly professional. Editors demand
frame accurate batch capture and perfect AV sync! If you’re conforming
EDL’s or recapturing for online finishing, DeckLink will allow frame
accuracy so all of your edits are always assembled correctly.
NTSC and PAL Switchable
DeckLink cards can instantly switch between NTSC and PAL with a
simple change of your settings. You can have both NTSC and PAL media
files on the same disk.
www.bhphotovideo.com
DeckLink Pro (Mfr # BDLKPRO • B&H # BLDLP) ........................................559.95
DeckLink SP (Mfr # BDLKSP • B&H # BLDLSP) ...........................................559.95
DeckLink SP PCIe (Mfr # BDLKSP-PCIE • B&H # BLDLSPE) ......................559.95
DeckLink Extreme (Mfr # BDLKEXTR • B&H # BLDLX) ............................839.95
DeckLink Extreme PCIe (Mfr # BDLKETR-PCIE • B&H # BLDLXPE) .......839.95
DeckLink Pro, DeckLink SP and DeckLink Extreme have more video
and audio connectors than could ever fit on the back of a PCI card.
Instead, Blackmagic includes them all on a long 7-foot breakout
cable. No need to purchase any extra cables when building your
editing system. (Standard DeckLink has an SDI input/output only.)
COMPUTER VIDEO
B L AC K M AG I C D E S I G N
1089
DECKLINK SD SERIES
DeckLink
DeckLink Pro
DeckLink SP
DeckLink Extreme
SDI Video Input
1 x 10 bit
1 x 10 bit
None
1 x 10 bit
SDI Video Output
2 x 10 bit
2 x 10 bit
1 x 10 bit
1 x 10 bit
Analog Video Input
None
None
YUV/NTSC/PAL
switchable to composite
YUV/NTSC/PAL
switchable to composite
Analog Video Output
None
YUV/NTSC/PAL
switchable to composite
YUV/NTSC/PAL
switchable to composite
YUV/NTSC/PAL
switchable to composite
2 Channels AES &
S/PDIF compatible
8 Channels AES &
S/PDIF compatible
2 Channels AES &
S/PDIF compatible
2 Channels AES &
S/PDIF compatible
SDI Audio Input
8 Channel
8 Channel
None
8 Channel
SDI Audio Output
8 Channel
8 Channel
8 Channel
8 Channel. Digital audio can
be combined with SDI video
Analog Audio Input
None
None
2 Channel
2 Channel. Analog audio can be
combined with analog video
Analog Audio Output
None
None
2 Channel
2 Channel
Standard definition SDI only
Standard definition SDI only
Standard definition SDI only
Standard definition SDI only
None
Blackburst Input
Blackburst Input
Blackburst Input
AES Audio Output
Dual rate support
Sync Input
Device Control
Sony compatible RS422 deck control ports. Serial ports TxRx direction reversible under software control
Settings Control
DeckLink System Preference (Mac OS X) and Control Panel (Windows)
Updates
Firmware for cards built into software driver. Loaded at system start
STANDARDS
SD Format Support
625/25 PAL, 525/29.97 NTSC and 525/23.98 NTSC
SDI Compliance
SMPTE 259M and ITU-R BT.601
SDI Video Sampling
Card type
4:2:2
“Short” PCI 66 MHz. Fully functional with PCI 66 & 33 MHz slots and PCI-X 133 & 100 MHz slots.
DeckLink Extreme PCIe and DeckLink SP are also available for computers with PCIe slots.
PROCESSING
Colorspace Conversion
HD Down Conversion
Hardware based real time
Mac OS X only, software-based real-time rendering on all SD cards. Support for HD 1080 and HD 720 to SD
Real time effects
Apple Final Cut Pro internal effects on Mac OS X.
Adobe Premiere Pro internal effects in DV, MJPEG and uncompressed edit formats
EXTRAS
Software Included
Installation
Deck Control, Disk Speed Test, LiveKey, FrameLink, Blackmagic driver.
DeckLink Pro supports external key, in addition to internal key, with Blackmagic LiveKey
PCI-33/66 Models: “Short” PCI 66 MHz card, fully functional with PCI 66 & 33 MHz slots and PCI-X 133 & 100 MHz slots.
Windows PC’s must have 64-bit PCI or PCI-X slots.
PCIe Models: “Short” PCI Express 1 lane card for high speed 2.5 Gb/s transfers. Compatible with 1, 4, 8 and 16 lane PCIe slots.
Replacement Breakout Cables
Connectors include Analog, SDI, Monitor, S/PDIF, Genlock and RS-422 on a 7’ Cable
For DeckLink Pro
For DeckLink SP
For DeckLink Extreme
(Mfr # # CABLE-BDLKPRO • B&H # BLBOCDLP) ........109.00
(Mfr # CABLE-BDLKSP • B&H # BLBOCDLSP) ...........129.95
(Mfr # CABLE-BDLKEXTR • B&H # BLBOCDLE) .........129.95
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1090
COMPUTER VIDEO
BL AC K M AG I C D E S I G N
DECKLINK HD EXTREME
HD/SD Broadcast Video Card
The new DeckLink HD Extreme is the most advanced capture card ever built.
Now you can afford the incredible quality of HD at SD prices. The ideal solution
for connecting to any camera, deck or monitor, DeckLink HD Extreme features
both SDI and analog I/O connections that instantly switch between HD and SD
video. Plus, it offers HDMI capture and playback, 3 Gb/s SDI support, and 3D
lookup tables. Use with the latest PCI Express Mac and Windows computers for
the world’s highest quality editing, effects and broadcast paint solution.
Supporting the highest quality10-bit SDI video, and 14-bit analog video,
DeckLink HD Extreme connects to any video equipment in both HD or SD, as well as SDI and analog. In addition to support
for10-bit uncompressed video, the card also features broadcast-quality HD to SD downconversion and its 4:2:2 SDI
connectivity delivers superior chromakey performance. The card can work with both Windows and Mac OS X computers,
making it an excellent choice for your editing needs regardless of your operating platform.
DeckLink HD Extreme features a dozen independently regulated power supplies integrated into the card to eliminate
interference from the computer’s power supply getting into delicate analog video and audio. It also features incredibly
wide band filtering for eliminating noise and SDI jitter, so even if you upgrade your computer in the future with increased
computer clock speeds, your investment is protected.
F EATURES
Connect to Anything
10-Bit SDI Capture/Playback
Flexible File Formats
DeckLink HD Extreme is the only solution that
connects to SDI, HDMI, component analog,
NTSC/PAL and S-Video equipment for capture
and playback, while instantly switching
between SD, HD and 2K. DeckLink HD Extreme
includes 2 channels of AES/EBU audio in and
out with a sample rate converter on the
AES/EBU input as well as 2 channels of XLR
professional analog audio in and out. Work
with the widest range of equipment, such as
HDCAM, HD-D5, HDCAM SR, Betacam SP,
Digital Betacam, HD receivers, HDV cameras,
televisions, mixers and more
DeckLink HD Extreme supports true 10-bit SDI
uncompressed video capture and playback for
better quality than any other system at any
price. Ideal for high end broadcast decks,
uncompressed 10-bit is the highest quality
possible from the SDI system. The Blackmagic
codec allows 16-bit RGB per channel rendering
preserving the quality of 10-bit video.
Select from the highest quality 10-bit
uncompressed and 8-bit uncompressed
capture and playback. When used on Mac
OS X, DeckLink includes support for DV, ProRes
4222, JPEG, DVCPRO HD and HDV compressed
video formats. On Windows, you can choose
between AVI and QuickTime file formats and
even play back TARGA and BMP image
sequences in the Premiere Pro timeline in
real time. Uncompressed QuickTime files can
be freely moved between Mac OS X and
Windows systems.
More HD Real Time Effects
DeckLink HD Extreme’s super fast 10 Gb/s
connection plugs directly into your editing
software’s real time effects processing. Unlike
FireWire products, you get all CPU time for real
time effects, so only PCI Express lets you
upgrade to HD without limiting real time
effects. The higher speed of PCI Express also
handles advanced formats such as full
resolution 2K digital film. Only the high speed
PCI Express ensures that when you upgrade to
high definition, you get full real time effects.
HDMI Input/Output
Full resolution HDMI input and output lets you
connect to any HDMI television or video
projector for full HD resolution monitoring at
much lower cost than a dedicated HD broadcast monitor. Unlike FireWire capture, using
the HDMI output of consumer cameras means
you get the highest quality uncompressed
video from the camera, or you can use the
native compression of your editing software,
such as uncompressed, JPEG, DVCPRO HD, and
ProRes. Unlike FireWire compression, using the
native compression of your editing software,
combined with high speed 10 Gb/s PCI Express
gives you all CPU time for maximum real time
effects playback direct to large screen displays
and broadcast monitors.
www.bhphotovideo.com
Down Conversion
and Real Time Effects
When running on Mac OS X DeckLink cards
feature broadcast quality down conversion
and is deal for mastering HD edits to SD.
DeckLink HD Extreme uses custom poly-phase
interpolation and filter processing for
incredible quality conversion at the highest
10-bit precision. DVCPRO-HD multi-layer
editing in Mac OS X with Final Cut Pro can
also be downconverted and played out in
standard definition, even when running
complex multi-layer HD real time effects.
COMPUTER VIDEO
B L AC K M AG I C D E S I G N
1091
DECKLINK HD EXTREME
Professional Quality Audio
DeckLink HD Extreme
Featuring unbalanced AES digital audio I/O,
DeckLink HD Extreme guarantees incredible
quality and sample accurate AV sync. Unbalanced AES connections are also compatible
with S/PDIF, so you can use inexpensive
consumer equipment for audio monitoring.
Also offers two channels XLR-balanced audio
I/O. Take advantage of a massive 12 channels of
embedded SDI audio when switched to HD, or
8 channels of embedded SDI audio when
working in standard definition.
3 Gb/s SDI Connections
The DeckLink HD Extreme includes high speed
3 Gb/s SDI connections allowing 4:4:4 RGB and
2K film connection with a single BNC cable.
3 Gb/s SDI runs twice the data rate of normal
HD-SDI video, however instantly switches to
traditional SD/HD-SDI. 3Gb/s SDI allows 4:4:4
RGB workflow or full resolution 2K feature film
quality 24 fps 2048 x 1556 capture and playback. 2K via SDI lets you connect film resolution
video around your facility using the same
familiar workflow as a “normal” video job!
Highest Quality Electronics
SDI Video Input
1 x 10 bit SD/HD
2 x 10 bit SD/HD
SDI Video Output
2 x 10 bit SD/HD
2 x 10 bit SD/HD
Supported Video Formats
Analog Video Input
Analog Video Output
Inputs/Outputs
525 NTSC, 625 PAL, 720HD and 1080HD switchable
12 bit Component YUV/NTSC/
PAL/S-Video switchable between
SD and HD in Component
No
14 bit Component YUV/NTSC/PAL/S-Video
switchable between SD and HD in Component
AES Audio Input
2 Channels unbalanced AES/EBU compatible with S/PDIF digital audio
AES Audio Output
2 Channels unbalanced AES/EBU compatible with S/PDIF digital audio
SDI Audio Input
HD: 12 channels on Mac OS X, 8 channels on Windows. Standard Definition:
8 channels. Full support for the maximum 6 channels in Adobe Premiere Pro
SDI Audio Output
HD: 12 channels on Mac OS X, 8 channels on Windows. Standard Definition:
8 channels. Full support for the maximum 6 channels in Adobe Premiere Pro
Analog Audio Input
2 Channels of professional
balanced XLR analog audio
No
Analog Audio Output
2 Channels of professional
balanced XLR analog audio
No
Video Sampling
4:2:2
4:2:2 and 4:4:4
Color Precision
4:2:2 10 bit
4:2:2 and 4:4:4 10 bit
4:2:2 YUV
4:2:2 YUV and 4:4:4 RGB
Color Space
DeckLink HD Extreme features the latest in
high quality ultra low noise design. It features
custom 14-bit analog output, for incredibly
accurate conversion, resulting in crisp clean
output from the most demanding computer
generated graphics. DeckLink HD Extreme is
unique with multiple power supplies that completely isolates the card from noisy computer
power, while including hundreds of filter components dedicated to eliminating digital noise.
DeckLink HD Pro
Loads of Software Utilities Free
Bundled software utilities assist real world production needs. Use Blackmagic
LiveKey to switch DeckLink HD Extreme into a keying card. For broadcast
graphics and paint, Photoshop plug-ins are included for capture and
output of still frames. For DPX image sequences and DI workflow,
FrameLink lets you instantly access QuickTime and AVI media as DPX files.
Blackmagic Deck Control lets you control a deck remotely via RS-422 for capture
and play-out clips to and from tape with timecode accuracy. For easy disk array setup, Blackmagic
Disk Speed Test checks your disk array with speed results displayed in frames per second.
DeckLink HD Pro
◆ 4:2:2 HD/SD-SDI input
◆ HD/SD-SDI (x2) outputs that can switch to fill
and key output for graphics.
◆ 12-bit analog component input and 14-bit
analog component, that switches to composite NTSC/PAL, or S-Video formats.
◆ SDI in and out support 12 channel audio in
HD, and 8 channel audio in SD modes.
If your looking for a pure digital card for Dual Link 4:4:4 editing with Sony SR decks, but don’t
need a lot of the features of DeckLink HD Extreme, Blackmagic offers the Dual Link 4:4:4 DeckLink
HD Pro. Available in PCI Express or PCI-X, DeckLink HD Pro allows you to edit in high quality RGB
4:4:4 using the traditional Dual Link 4:4:4 video via 1.5 Gb/s SDI. DeckLink HD Pro doesn’t have 3D
LUTs, 3 Gb/s SDI, HDMI, analog audio, or analog video input. However it is a good solution for
4:4:4 Dual Link editing when you need to build this support inside the machine as a plug in PCI
card. If you need the features of DeckLink HD Extreme, combined with Dual Link 4:4:4 features,
check out Multibridge Pro or Multibridge Eclipse.
◆ 2 channels of analog balanced XLR audio
input and output
◆ 2 channels of digital AES/EBU input/output
◆ RS-422 interface
◆ Genlock/Tri-Sync reference input
DeckLink HD Extreme (Mfr # BDLKHDEXTR • B&H # BLDLHDX) ..........................................................799.95
DeckLink HD Pro PCIe 4:4:4 PCIe: (Mfr # BDLKHDPRO-PCIE • B&H # BLDLHDPDLPE) .................1129.95
DeckLink HD Pro PCI-X 4:4:4 PCI-X (Mfr # BDLKHDPRO-DL • B&H # BLDLHDPDL) .....................1399.95
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1092
COMPUTER VIDEO
BL AC K M AG I C D E S I G N
MULTIBRIDGE PRO • MULTIBRIDGE ECLIPSE
Uncompressed HD/SD Capture and Conversion Systems
Multibridge is an external PCI Express capture and playback
solution that instantly switches between SD, HD and 2K, in 4:2:2
or 4:4:4 video quality. Connect to PC or Mac via high speed 10 Gb/s
PCI Express for the world’s highest quality editing system, or use
independently as a bi-directional SDI video converter.
With 3 Gb/s SDI standard connections, Multibridge Pro allows
twice the SDI data rate than normal HD-SDI, while retaining
compatibility with normal HD-SDI and SD-SDI equipment. Use
3 Gb/s SDI for 4:4:4 HD using a single BNC connection, or use
Blackmagic’s 2k via SDI for high resolution real time 2048 x1556
feature film editing. For greater assistance in the feature film editing
process, Multibridge Pro includes color management via built in 3D lookup tables.
Consisting of a compact (1RU) but robust PCI Express break-out box,
Multibridge Pro connects to a computer via PCI Express 4 lane, allowing full
audio and video capture and playback. Disconnected from the computer, it
instantly transforms into a standalone converter. This functionality is possible
because of the unique PCI Express cable connection used for connecting to
Mac or Windows computers. This allows all the electronics to be built into the
break-out box, creating a much more useful and intelligent solution.
Multibridge Pro switches between HD and SD video, and features an
SD/HD-SDI input, and two SD/HD-SDI outputs. It also includes 12-bit analog
video input and incredible 14-bit A/D video conversion output.
The analog video connections can be independently switched to
component (YUV), composite NTSC/PAL and S-Video. When using
component (YUV) video, the analog connections will switch
between HD and SD allowing connection to HDV cameras, or
analog decks such as Betacam SP. There are two 2 channels of
analog balanced XLR audio, 4 channels of AES/EBU digital audio
I/O with each input featuring sample-rate converters, and 2
channel unbalanced audio out for HiFi monitoring. Multibridge
Pro also includes a built-in HDMI digital monitoring output. HDMI
allows up to 12 bit at full HD resolution for a very high quality
built-in digital video monitoring solution.
MULTIBRIDGE ECLIPSE
Designed for more complex needs in high end broadcast and
post production, Multibridge Eclipse steps up with a larger 2
rack unit size for a massive12 channels of AES/EBU, 4 channels
of XLR balanced audio, and 32 independent audio level meters
for audio monitoring. It also incorporates an advanced front
panel design with status lights that shows users instant feedback of operational status—resolution, genlock format and
video input status— vital in busy broadcast facilities.
World’s Highest Quality
Fully compatible with SDI and HD-SDI 4:2:2, Multibridge Pro and Eclipse also features Dual Link HD-SDI 4:4:4 connections for feature film quality. Dual
Link 4:4:4 is used on the latest Sony HDCAM SR decks, and contains additional color detail giving you full RGB color bandwidth and extra precision of
up to 10-bit SDI video. When connected via PCI Express to a host computer, this higher quality video can be captured and played back completely
uncompressed for amazing feature film quality.
www.bhphotovideo.com
COMPUTER VIDEO
B L AC K M AG I C D E S I G N
1093
MULTIBRIDGE PRO • MULTIBRIDGE ECLIPSE
Capture and Playback
Audio
Multibridge Pro and
Eclipse connect to
your computer via
PCI Express and
work just like a
Included
capture and play4 lane PCI Express card
back card inside
your computer. All electronics are contained in
a compact external chassis connected to your
computer via an included PCI Express cable
and plug-in board. This unique design allows
space for lots of video and audio connections,
and they can be used as a video converter
when not connected to your computer. 25x
faster bandwidth than FireWire, high speed
10 Gb/s PCI Express doesn’t suffer from any
latency or require any video compression, so
you get a fast acting and fluid editing
experience at the the highest video quality.
Multibridge Eclipse supports a massive 12 channels of AES/EBU digital audio on balanced XLR
connectors, as well as 4 channels of pro balanced analog audio on XLR connectors. Multibridge
Pro supports 8 channels of AES/EBU digital audio on a multi-pin DB-25 connector, as well as 2
channels of pro balanced analog audio on XLR connectors. Both support sample rate converters
on AES/EBU inputs for the widest plug and play audio compatibility, and both include 2 channel
RCA audio outputs for low cost HiFi monitoring.
3 Gb/s SDI Connections
Multibridge Eclipse and Pro include high speed 3 Gb/s SDI connections via a single BNC cable.
3 Gb/s SDI runs twice the data rate of normal HD-SDI video, however instantly switches to
traditional SD-SDI and HD-SDI. 3 Gb/s SDI allows 4:4:4 RGB workflow or full resolution 2K feature
film quality 24 fps 2048 x 1556 capture and playback. 2K via SDI allows a revolutionary change to
feature film workflow as you can connect film resolution video around your facility as easily as
video is handled today. This eliminates retraining time and cost when you want to work on film
projects. For greater assistance in the feature film editing process, Multibridge Pro and Eclipse
include color management via built in 3D lookup tables. 3D lookup tables allow the accurate
matching of film stock so editors can see the correct color of the final film output when editing.
Multibridge Pro
rear
Connect to Anything
Capture and playback from any SDI, HDMI or
analog deck, camera or monitor. Use Multibridge as a bidirectional video converter and
convert from SDI to analog and HDMI, and
analog to SDI and HDMI simultaneously. For
the widest compatibility, SDI, HDMI and analog
component connections switch instantly
between standard and high definition.
All-in-one Converter
Disconnect the PCI Express cable from the host
computer and Multibridge Pro and Eclipse
instantly switch into a bi-directional broadcast
video and audio converter. Simultaneously
convert from digital to analog, and analog to
digital all at the same time with selectable
audio embedding and de-embedding. (SDI
audio is de-embedded and output on audio
outputs, while audio inputs can be embedded
into SDI video outputs).
Down Conversion and Real
Time Effects
Multibridge features massive processing
power, that is fantastic for broadcast quality
HD down conversion and other processing
based features. Even complex multi layer HD
editing can be down converted and played
out in standard definition all in real time.
Down conversion uses custom polyphase
interpolation and filtering for incredible
quality at the highest 10-bit precision.
Multibridge
Eclipe rear
Built in HDMI
Both feature full resolution HDMI input and output. Use the HDMI output for connecting to any
HDMI television or video projector for full HD resolution monitoring at much lower cos. Use the
built in HDMI input to capture from cameras with HDMI outputs. Unlike Firewire capture, using
the HDMI output of consumer cameras means you get the highest quality uncompressed video
from the camera, and your video files can use the native compression of your editing software,
such as uncompressed, JPEG, DVCPRO HD, and ProRes. Unlike FireWire compression, the native
compression of your editing software lets you use real time effects and real time playback direct
to large screen displays and broadcast monitors.
Standard Definition, HDTV or 2K Film
They feature dual rate SDI and are completely format independent, so you can instantly switch
between standard or high definition. Connect to SD-SDI equipment such as Digital Betacam, as
well as HD-SDI equipment such as HDCAM. Because they include the extreme quality of Dual
Link SDI connections, you can work in 10 bit 4:4:4, and connect to the decks such as Sony
HDCAM SR. With the ability to update new formats via USB, you can connect to virtually any
equipment, now and in the future. They supports 2K 2048 x 1556 at 23.98 and 24fps, 1080 lines at
23.98PsF, 24PsF, 50i, 59.94i, 60i, 720 lines at 50p, 59.94p, 60p and VariCam. NTSC, PAL and S-Video.
Compatible with all Video Software
Multibridge is compatible with QuickTime and DirectShow so you can use any supported video
software in standard definition, high definition, or even 4:4:4 10-bit RGB HD. Use your favorite
video software such as Final Cut Pro, Premiere Pro, After Effects, Photoshop, Combustion, Fusion
and many more. They work in Windows XP, Vista and Mac OS X systems. Instantly switch between 2K, 1080 HD, 720 HD, NTSC and PAL for worldwide compatibility.
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1094
COMPUTER VIDEO
BL AC K M AG I C D E S I G N
MULTIBRIDGE PRO • MULTIBRIDGE ECLIPSE
2K Feature Film Resolution
MULTIBRIDGE PRO
◆ Multibridge Pro and Eclipse have the speed
of PCI Express combined with support for
an Apple 30” Cinema display when used
with the HDLink Pro. That allows the full
resolution of a 30” display to be used for
native playback 2K feature film resolution, so
you see pixel for pixel feature film resolution.
When combined with HDLink Pro, large 30”
2560 x 1600 resolution displays can be used
for native 2048 x 1556 playback. Imagine
editing 2K video in real time at full resolution
without proxies.
Software Utilities
SDI Video Input
2x 10-bit SD, HD, 3Gb/s HD and 2K switchable. Usable as Dual Link HD-SDI
for 4:2:2 or 4:4:4 connection or 3 Gb/s for HD-SDI 4:4:4 or 2K.
SDI Video Output
2x 10-bit SD, HD, 3Gb/s HD and 2K switchable. Usable as Dual Link HD-SDI
for 4:2:2 or 4:4:4 connection or 3 Gb/s for HD-SDI 4:4:4 or 2K.
Supported SDI Formats
Component YUV, NTSC, PAL and S-Video switchable
between SD and HD in Component
Analog Video Output
Component YUV, NTSC, PAL and S-Video switchable
between SD and HD in Component
Supported Analog Formats
525 NTSC, 625 PAL, 720HD and 1080HD switchable
SDI Audio Input
16 channels in HD and 2K capture and playback mode.
8 channels supported in SD.
16 channels de-embedding supported from SDI input in converter mode.
SDI Audio Output
16 channels in HD and 2K capture and playback mode.
8 channels supported in SD.
16 channels de-embedding supported from SDI input in converter mode.
2 channels of professional
balanced XLR analog audio
4 channels of professional
balanced XLR analog audio
Analog Audio Output
2 Channels of professional
balanced XLR analog audio
2 Channels of unbalanced
RCA analog audio for monitoring
4 Channels of professional
balanced XLR analog audio
2 Channels of unbalanced
RCA analog audio for monitoring
AES/EBU Audio Input
4x inputs on DB-25 for 8 audio
channels. Sample rate converted.
6x inputs on XLR connectors for 12
audio channels. Sample rate converted.
4x outputs on DB-25
for 8 audio channels.
6x outputs on XLR connectors
for 12 audio channels.
HDMI Audio Input
2 Channels
2 Channels
HDMI Audio Output
2 Channels
2 Channels
Analog Audio Input
◆ Blackmagic Deck Control application lets you
control a deck remotely via RS-422. Capture
and play clips to and from tape with timecode accuracy. Easy to use, just enter an IN
and OUT timecode point, and select grab,
or put, and your clip will be transferred
between Multibridge and your broadcast
deck. Its all automatic, so its fast. .
◆ For easy disk array setup, the cards include
Blackmagic Disk Speed Test for real world
checking of your capture disk, with speed
results displayed in easy to understand video
frames per second.
525 NTSC, 625 PAL, 720HD, 1080HD and 2K 2048 x 1556 switchable
Analog Video Input
◆ For broadcast graphics and paint, they
include Photoshop plug-ins for capture and
output of still frames. If you need DPX image
sequences for DI workflow, the Blackmagic
FrameLink lets you instantly access
QuickTime and AVI media as DPX files.
MULTIBRIDGE ECLIPSE
AES/EBU Audio Output
◆ Blackmagic’s Software Codec lets you open
and render files even without the DeckLink
hardware installed.
◆ Blackmagic Codec features correct anti
aliasing 4:2:2 color filtering, so RGB graphics
convert to correct 4:2:2 YUV video-space
without aliasing problems.
Capture Gamma Tables
Capture video direct from log video sources by using custom gamma tables loaded into the
DeckLink system preference. DeckLink uses the same gamma table technology and file format
as the popular HDLink DVI converter, so you can reuse your custom gamma tables facility wide.
You can even customize lift, gain and gamma settings for each RGB channel, if you’re simply
color balancing input video. They also include Panasonic and Grass Valley Viper camera standard
gamma tables, allowing instant setup when on the production set.
Conveniences
◆ Designed for installation, Multibridge Pro
and Eclipse come in compact rackmount design. Or remove the rack brackets and install
the included rubber feet for desktop use.
Multibridge Pro (Mfr # MULTIBRPRO2 • B&H # BLDLMBPQ2) ............................................................1499.95
Multibridge Eclipse (Mfr # MULTIBRECL • B&H # BLDLMBEQ) ........................................................2569.95
◆ Video Desktop for output from non video
software. Realtime RAM preview in After
Effects, Motion, Fusion and Combustion.
◆ Forget annoying DIP switches, as Multibridge
features all settings and software updates via
built-in USB 2.0 connection.
Accessories for Multibridge Pro/Extreme
PCIe Host Adapter (Mfr # ADPT-1PCIESLCAB • B&H # BLAPE4S) .............................................................49.95
6.6’ Host Adapter Cable (Mfr # CABLE-4LANEPCIE2M • B&H # BLCPCIE42) .......................................129.95
Universal Power Supply Adapter (Mfr # PSUPPLY-12V45W • B&H # BLPSMB)................................59.95
www.bhphotovideo.com
COMPUTER VIDEO
B L AC K M AG I C D E S I G N
1095
MINI CONVERTERS
Advanced Converter Family for SD and HD
Build your SDI studio with the worlds most advanced and easy to use converters. Blackmagic’s Mini Converters include
auto SD/HD switching, redundant input, AES/EBU and analog audio on 1/4” jacks, combined with advanced 3 Gb/s SDI
technology. There are 4 great models to choose from depending on the conversion you need, plus a sync generator model.
◆ Mini Converters instantly switch between SD and HD
video formats and changeover is automatic when the
video input changes. A huge range of video standards
are supported including, NTSC, PAL, 1080i/59.94,
1080i/50, 1080psf/23.98, 1080psf/24, 720p/59.94 and
720p/50 formats, plus new formats can be added via USB.
◆ They feature a unique redundant input for mission
critical tasks such as broadcast or live events. You can
connect a redundant cable to the second input, so if the
main input is lost, the Mini Converter will automatically
switch over to the redundant input cable. This lets you
can use Mini Converters in locations where crowds or the
environment might cause cable damage, or lets you
place Mini Converters in hard to reach locations such as
roof mounted video projectors etc. A loop though SDI
output is also provided for connecting to other devices.
◆ They include the latest 3 Gb/s SDI technology and
upgrades can be loaded via the built in USB connection
for future video format compatibility. 3 Gb/s SDI is also
fully compatible with all your standard definition and
high definition SDI equipment.
◆ The Mini Converters are equipped with 1/4” jacks that
accept balanced analog or AES/EBU digital audio. This
means you only need one model of Mini Converter for
both analog and digital audio. You select the type of
audio from one of the mini switches on the side of the
Mini Converter unit. On modes with AES/EBU digital
audio in, a sample rate converter lets you connect to any
AES/EBU source, either synchronized, or un-syncronized.
On HDMI models, you also have full access to the HDMI
audio embedded in the HDMI video connection.
◆ Use them anywhere in the world. A universal power
supply is included with international socket adapters
for all countries. To stop power accidentally being
disconnected, a cable tie point is included to lock down
the power connection tight.
◆ Mini Converters are built to highest quality standards with low SDI jitter so you
get the longest SDI cable lengths combined with multiple internal power
supplies for ultra low noise broadcast quality analog video and audio. Mini
Converters feature the highest grade broadcast quality analog audio and video
electronics. In fact, Mini Converters uses the same analog video design as the
award winning Multibridge Eclipse. That means you get the highest quality, all in
a very affordable and incredibly compact unit.
SDI to Analog (Mfr # CONVMSA • B&H # BLSDIAMC)
Includes everything you need to convert from SDI to analog in HD/SD component,
NTSC and PAL video, plus balanced AES/EBU and analog audio. Now you can easily
connect equipment such as Betacam SP, VHS, and analog video monitors to SDI
based equipment....................................................................................................................469.95
Analog to SDI (Mfr # CONVMAS • B&H # BLASDIMC)
Perfect for converting from analog video in HD/SD component, NTSC, PAL or
S-Video to SDI video with the choice to embed SDI audio from balanced AES/EBU
or analog audio inputs ..........................................................................................................469.95
SDI to HDMI (Mfr # CONVMSH • B&H # BLSDIHDMIMC)
Converts from SDI to HDMI video with embedded HDMI audio, plus balanced
AES/EBU or analog audio. Use big screen TVs and video projectors for broadcast
video monitoring ....................................................................................................................469.95
HDMI to SDI (Mfr # CONVMHS • B&H # BLHDMISDIMC)
Ideal for converting from HDMI devices to SDI video with the choice to embed SDI
audio from HDMI, AES/EBU or balanced analog audio inputs. Add SDI outputs to
cameras with HDMI connections, or add if your computer supports HDMI
compatibility via DVI to HDMI adapters, then you can use for adding SDI outputs
to computers.............................................................................................................................469.95
Sync Generator (Mfr # CONVMSYNC • B&H # BLSGMC)
Includes 6 crystal stabilized video reference outputs for referencing all the video
equipment in your studio in either high definition Tri-Sync or standard definition
blackburst ..................................................................................................................................279.95
Broadcast Converter (Mfr # CONVBR • B&H # BLBCC)
Combines most mini converters features into a 1RU chassis that allow bi-direction
conversion. Convert SDI to analog/HDMI while at the same time converting analog
to HDMI to SDI. Complete solution for connecting analog decks to SDI based
systems in a compact rack mount design ......................................................................944.95
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1096
COMPUTER VIDEO
BL AC K M AG I C D E S I G N
HDLINK • HDLINK PRO
Advanced HD Monitoring Solutions
Monitoring converters for professional post production editors
and broadcast paint and effects artists, HDLink and HDLink
Pro allow any supported DVI or HDMI display to be used
for incredible HD/SD-SDI monitoring. When DVI-D or HDMI
monitors are connected, HDLink instantly switches between
HD and SD, and allows pulldown for best monitor compatibility. For highest
quality, HDLink features 4:2:2 and dual link 4:4:4 quality combined with10-bit lookup
tables. HDLink also supports stereo RCA audio output for monitoring on consumer equipment,
as well as software for Windows XP and Mac OS X via an easy to use software interface.
Supporting the 3 Gb/s SDI standard, the HDLink Pro allows 4:4:4 video via a single
BNC cable or Blackmagic’s 2k via SDI allows high resolution real time 2048 x1556
feature film editing. HDLink Pro includes color management via built in 3D lookup
tables that allow any feature film stock to be simulated so editors can always see the
correct color of the final film output. Popular 3D lookup tables can be loaded for
various film stocks, and HDLink Pro is compatible with third party software for
generating tables. Included in HDLink Utility software is full control for adjusting
tables and generating custom “looks” for download into HDLink Pro. When editing
with complex 5.1surround sound audio tracks, HDLink Pro allows full 5.1monitoring
by including 6 separate channels of audio output.
F EATURES
Full Resolution HD Monitoring
◆ HDLink and HDLink Pro connect SDI video
directly to any supported DVI-D based LCD
computer monitor for incredible true HDTV
resolution video monitoring.
◆ HDLink Pro features 3 Gb/s SDI for high
resolution 2K film monitoring when
connected to a large 30” DVI display. With
every individual pixel in the HD or 2K SDI
connection digitally mapped directly to the
pixels of the LCD display, you get a perfect
digital-to-screen pixel for pixel HDTV or 2K
display.
◆ Connect any HDMI TV or video projector to
HDLink for cinema style monitoring. Even
large 23” CRT-based monitors can’t display
the full resolution of the HD-SDI signal, but
with HDLink you see every pixel in the HD
signal, so you’ll always see a perfect image.
You’ll be amazed at the quality of HD or 2K
video when you monitor via HDLink for the
first time. There’s simply no higher
resolution HDTV monitoring possible!
Support both DVI and HDMI
◆ They support DVI-D based digital computer
displays and include HDMI video support.
HDMI supports video at 1080i/50,
1080i/59.94 and 720p/59.94 on any HDMI
device.
◆ DVI-D supports displays at 1920 x 1200
(16:10) resolution for all 1080 HDTV formats.
When working in 720 HDTV formats you can
even use lower cost 1280 x 800 resolution
display for pixel for pixel 720p viewing.
◆ When working in NTSC or PAL, HDLink can
2x oversize the displayed image making
viewing easier. Because most computer
displays are limited to approximately a
60 Hz refresh rate, HDLink will automatically
apply pull-down to allow video frame rates
to be displayed.
◆ HDLink includes a built-in Power PC
processor allowing automatic adjustment
of native display resolutions using VESA
E-EDID1.3.
www.bhphotovideo.com
World’s Highest Quality
3 Gb/s SDI in 4:4:4
◆ HDLink introduced the world’s first full
HDTV resolution 4:4:4 monitoring solution
that supports both standard definition SDI,
HD-SDI and Dual Link HD-SDI 4:4:4 for full
resolution color monitoring. Dual Link
HD-SDI 4:4:4 uses two HD-SDI video cables
for twice the color resolution. Conventional
SD and HD video is 4:2:2 based, which limits
color detail while 4:4:4 HD video preserves
the full color detail which is important for
critical keying and feature film work.
◆ HDLink Pro is the first solution for the new
high speed 3 Gb/s SDI standard for 4:4:4
RGB and 2K film monitoring. 3 Gb/s SDI runs
twice the data rate of normal HD-SDI video,
allowing 4:4:4 RGB video to be connected
using a single SDI connection. 3 Gb/s SDI
also allows full resolution 2K feature film
quality 2048 x 1556 video to be connected
via SDI.
COMPUTER VIDEO
B L AC K M AG I C D E S I G N
1097
HDLINK • HDLINK PRO
Standard Definition, HDTV or 2K
◆ HDLink and HDLink Pro support all SDI
Color Management via 3D Lookup Tables
◆ For matching LCD display colorimetry and simulating
based formats from standard definition
NTSC/PAL to HD-SDI 1080 and 720 when
used with DVI displays. HDLink Pro features
3 Gb/s SDI, so it also works with real time
2K monitoring as used on Blackmagic’s
Multibridge Eclipse.
◆ HDLink’s SDI video input automatically
switches between SD, HD and 2K. HDLink
also supports all HDTV frame rates and
formats including progressive HD formats.
◆ SMPTE 352M video payload identification
ancillary data is used for automatic input
format recognition and RGB/YUV color space
detection. Color precision is at an incredible
10-bit in both SD and HD formats. Video data
is automatically rounded down to the bit
depth of the connected LCD display for
superior viewing quality.
Analog Audio Monitoring Output
various types of film stocks, HDLink includes 1D RGB
lookup tables, while the HDLink Pro model features
more advanced 3D lookup tables. Advanced 3D
lookup tables increase color control because a
blend of red, green and blue video can be output to
each primary color on the connected display. Only
advanced 3D lookup tables can give full color
control for accurate simulation of almost any
feature film stock.
◆ Lookup tables are fully adjustable via high speed
USB 2.0 port using the included HDLink Utility
software for Windows and Mac OS X. This allows full custom 10-bit lookup tables, combined
with lift, gamma and gain adjustments in red, green and blue channels. This is vital when color
calibrating for various popular brands of connected LCD panels, and ensures accurate broadcast quality color representation of the HD-SDI video input.
◆ Users can load their own custom lookup tables, or select from the built in lookup tables
compatible with Panasonic and Grass Valley Viper standard gamma encoded video. As an
added bonus, the built in USB interface also allows software updates, so HDLink is never
obsolete as software updates add new features.
◆ Audio outputs are de embedded from the
SDI input and then converted to analog at
an incredible 24 bit. HDLink supports 2
channels of audio out, while HDLink Pro
supports 6 channels out allowing easy
monitoring of 5.1 surround sound audio.
Audio is output on RCA connectors so you
can easily connect to standard HiFi systems.
◆ If the connected display requires pull-down
processing then HDLink will apply a variable
audio delay ensuring perfect audio to video
sync. To protect speakers and eliminate loud
pops and other audio glitches, HDLink
gently mutes the audio if video formats
change or when SDI signals are connected
and disconnected.
Format Support
◆ SDI 4:2:2, 4:4:4 and 2K support.
CO N N E C T I O N S
SDI Video Input
12x SDI switchable between HD and standard definition.
SDI Video Outputs
24x SDI switchable between HD and standard definition.
Dual Rate Support
Auto detection of HD or standard definition SDI inputs.
Simultaneous routing of both HD and standard definition video.
Device Control
12x bidirectional Sony compatible RS422 deck control ports.
Serial ports TxRx pin reversible under software control.
Router Control
USB 2.0 high speed interface shared over IP network.
Updates and Configuration
USB 2.0 high speed (480Mb/s) interface.
Re-Clocking
On all SDI inputs, auto switching between high-definition
and standard definition.
HD Format Support
1080p24, 1080p25, 1080p30, 1080i48, 1080i50, 1080i59.94, 720p30,
720p50, 720p59.94 and 720p60.
SD Format Support
625/25 PAL and 525/29.97 NTSC.
SDI Compliance
SMPTE 292M, SMPTE 259M, SMPTE 296M, ITU-R BT.656
and ITU-R BT.601.
SDI Video Sampling
4:2:2 and 4:4:4 when using 2 routes.
SDI Color Precision
4:2:2 and 4:4:4 10-bit when using 2 routes.
SDI Color Space
YUV, or RGB when using 2 routes.
SDI Metadata Support
Video payload identification ancillary data as per SMPTE 352M.
SDI Audio Sampling
Television standard sample rate of 48 kHz and 24-bit.
S TA N D A R D S
◆ Video formats supported on DVI Displays: 2K
2048 x 1556 at 23.98PsF, 24PsF. 1080 lines at
23.98PsF, 24PsF, 25PsF, 48i, 50i, 59.94i, 60i.
720 lines at 50p, 59.94p, 60p. Standard
Definition NTSC and PAL.
◆ Video formats supported on HDMI Displays:
1080 HD at 23.98PsF, 24PsF, 25PsF, 48i, 50i,
59.94i, 60i. 720 lines at 50p, 59.94p, 60p.
Standard Definition NTSC and PAL.
◆ Selectable 16:9 or full screen resize in SD
◆ Color precision support: 4:2:2 10 bit, 4:4:4 10
bit and 2K 10 bit. Color space support: 4:2:2
YUV, 4:4:4 RGB and 2K RGB.
HDLink (Mfr # HDL-DVI • B&H # BLHDL) ................................................................................................................. 409.95
HDLink Pro (Mfr # HDL-DVIPRO • B&H # BLHDLP) .................................................................................................729.95
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1098
COMPUTER VIDEO
BL AC K M AG I C D E S I G N
WORKGROUP & BROADCAST VIDEOHUB
Dual-Rate HD/SD SDI Routing Switchers
Workgroup Videohub rear
Now you can afford to connect everyone together in both
HD or SD and eliminate the mess of manually patching
editing systems to decks. Workgroup Videohub eliminates
complicated manual cable patching by connecting everyone together into a fully featured professional routing
switcher. Workgroup Videohub automatically switches
between SD-SDI and HD-SDI with full12x24 routing, with12 extra independent SDI monitoring outputs allowing separate
monitoring direct from the router. Also included are12
RS-422 deck control ports with two channels in internal processing for HD down conversion and a keying frame store.
Stepping up, the Broadcast Videohub is a powerful broadcast grade routing switcher that features a massive 72 SDI
inputs,144 SDI outputs, 72 deck control ports, twin
redundant power connections, SDI re-clocking, auto
switching SD, HD and 3 Gb/s SDI technology all in a
compact 8 rack unit chassis less than a few inches deep.
Workgroup and Broadcast Videohub include an easy to use
control software application that works on Mac OS X and
Windows systems, and all control is done via the local
network so no extra cabling is required when installing.
Broadcast Videohub rear
F EATURES
◆ Video routing switchers allow non-technical people to connect to each other and share broadcast
decks without the complexity of manual cable patching. Remote switching via your IP network
means you don’t even need to walk to a central patch panel which is great when there are many
people are working on the same client job.
In the past, most studios have been forced to use manual patching to connect editing
workstations and decks. However, this can become too complicated for creative designers,
graphic artists and editors to understand, plus it gets even more complicated as your studio
grows. Manual patching also caused problems with limited SDI cable lengths, and patch
cables quickly wear out, so you get glitches as other uses bump them while patching.
Workgroup and Broadcast Videohub eliminate this problem since everyone is permanently
connected, and no cables need to be physically changed ever. All video connections are
changed from an easy to use software application right from your computer desktop. Unlike
manual patching, the Workgroup and Broadcast Videohubs re-clock the SDI video signal for
long cable lengths. You can also send one SDI video connection to as many outputs as you
like, so multiple people can access any SDI video source, all at the same time.
High end post production and broadcasters have understood the advantages of professional
routing switchers for decades, and now with Workgroup and Broadcast Videohub, everyone
can afford these same workflow advantages.
www.bhphotovideo.com
◆ Workgroup and Broadcast Videohub are
easy to install. All connections are grouped
together to include an SDI input, SDI output,
deck control port, and SDI monitor output
for each user. The Videohubs have twice as
many SDI outputs as inputs, so each user can
connect monitoring directly to the router.
This lets people control their monitoring
without affecting the input of their editing
workstation. This is important when more
than one person is working on a post
production project, and the client wants to
switch monitoring to see the entire project
being worked on.
◆ Workgroup Videohub has fully reversible
rack mounting in a compact 3RU size, 1”
deep, the Broadcast is 8RU and a few inches
deep. They can be mounted front side for
traditional installation, backwards for patch
panel installation, or on the rear side of
equipment racks to save valuable space.
COMPUTER VIDEO
B L AC K M AG I C D E S I G N
1099
WORKGROUP & BROADCAST VIDEOHUB
SDI Re-Clocking
Deck Control Routing
With 12 or 72 independent Sony compatible
RS-422 serial control ports included, each
editing system can control any deck in your
facility. Each deck control connection is
independently reversible via software control,
so it’s easy to connect edit stations or decks to
any of the 12 or 72 deck control ports.
Reversible deck control serial ports are ideal
when using deck-to-deck editing or deck
emulation DDR software.
SD or HD
◆ They use standard and high definition SDI
connections, so you can connect any device
used in television production. You can
connect editing systems, decks and even
equipment within telecine suites. Use
Videohub for connectivity within the telecine
workflow, such as color correction noise
reduction, frame stores and disk recorders.
You can use two inputs and outputs on
Videohub for routing dual link 4:4:4 video.
◆ With built-in powerful HD down conversion,
you can convert HD into standard definition
video and then send it to any device on the
router. That’s great if you're doing an HD job
but need to monitor in standard definition,
or record client tapes.
They include built in SDI re-clockers on each SDI input which regenerate the SDI video signal.
Every inch of video cable from your SDI video devices degrades the SDI signal. Expensive
premium grade “digital” cables can help, however simply cannot eliminate this loss. With SDI
re-clocking you can a regenerated and clean SDI signal out to all the SDI devices in your studio.
That means longer cable lengths, and no glitches in your video.
Network Router Control
Workgroup and Broadcast Videohub use software control panels running on Windows and Mac
OS X. This lets you control the router from the same system you edit on. The Videohub connect
to any computer via USB and is then shared over your local network. Any computer can be the
host and simply connecting to the router via a USB 2.0 connection activates that computer as
the host, and allows other computers on your network to connect. Router labels can be changed
from any computer and are fully unicode compatible for foreign language support.
Broadcast VideoHub Only
◆ Broadcast Videohub includes two high
is their powerful real time video processor.
Integration with the router is via an additional
2 SDI input and output connection. Real time
video processing allows high quality down
conversion, and simultaneous keying frame
store and with customizable video frames
loaded onto the host and downloaded via
USB on demand from any client computer.
The keying frame store is great for test
signals and identity logos, working in both
high definition and standard definition.
◆ For added reliability in critical environments,
router connections are preserved in non
volatile ram in case of power failure. When
power is restored all connections recover
instantly even if the host computer is not
connected.
WORKGROUP VIDEOHUB
SDI Video Input
72x 10-bit SD SDI, HD-SDI,
3Gb/s HD and 2K switchable
12x SDI switchable between
HD and standard definition
SDI Video Output
144x 10-bit SD SDI, HD-SDI,
3Gb/s HD and 2K switchable
24x SDI switchable between
HD and standard definition
Dual rate support
72x bidirectional Sony compatible
12x bidirectional Sony compatible
RS422 deck control ports. Serial ports TxRx pin reversible under software control.
Router Control
USB 2.0 high speed interface shared over IP network
Updates & Configuration
Re-Clocking
USB 2.0 high speed (480Mb/s) interface
On all SDI inputs, auto switching
between standard definition,
high definition or 3 Gb/s SDI video.
On all SDI inputs, auto switching
between standard definition
or high definition video.
SD Format Support
625/25 PAL and 525/29.97 NTSC
HD Format Support
1080p24, 1080p25, 1080p30, 1080i48, 1080i50,
1080i59.94, 720p30, 720p50, 720p59.94 and 720p60
SDI Compliance
OS X, you can mix and match platforms for
router control and even host control. You can
use both platforms in any combination.
Auto detection of SD, HD
Auto detection of HD or
or 3 Gb/s SDI.
standard definition SDI inputs.
Simultaneous routing of both HD and standard definition video.
Device Control
2K Format Support
◆ Fully compatible with Windows and Mac
Broadcast Videohub allows twice the SDI
data rate than normal HD-SDI. Use 3 Gb/s
SDI for high resolution real time 2048 x
1556 feature film editing. 3 Gb/s SDI has
full compatibility with SD, HD or 2K in 4:4:4
or 4:2:2 all with a single BNC cable.
With 3 Gb/s SDI built in, you have fully
compatibility with all your current SD-SDI
and HD-SDI equpment, plus any new
formats that come in the future.
BROADCAST VIDEOHUB
Integrated Video Processing
◆ The most exciting features of the Videohubs
◆ With 3 Gb/s SDI connections built in,
reliability power supplies even though you
only need one. The extra power supply is
used as a backup and power changes over
is instant in case of failure. You could also
connect the second power supply to a
different power circuit in your building or
a UPS. For extra protection in case of a
complete power failure, when the power
comes back, all your connections are
instantly restored.
2048 x 1556/23.98 and 24
None
SMPTE 292M, SMPTE 259M, SMPTE 296M, SMPTE 292M, SMPTE 259M, SMPTE 296M,
SMPTE 424M, ITU-R BT.656, ITU-R BT.601
ITU-R BT.656 and ITU-R BT.601
Workgroup Videohub
Broadcast Videohub
(Mfr # WGVHUB • B&H # BLWGVH) .....................4599.95
(Mfr # VHUB/BR • B&H # BLBCVH)...................14,694.95
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1100
COMPUTER VIDEO
BORI S F X
GRAFFITI
Broadcast-Quality 2D and 3D Titling Effects
Create titles and graphics directly inside your nonlinear editing system without importing and
exporting. Easily create sophisticated
title animation including type on text,
text on a path, jitter and randomization.
Create 3D text with bump maps and
reflections. An expansive Style Palette
and the Boris Library Browser provide
easy access to hundreds of preset
effects and styles. Adding Graffiti to
your existing NLE system puts the most innovative and user-friendly titling tools in the industry at your fingertips.
EPS Import and Extrusion
Scalable vector art can be imported directly into Graffiti. Add, delete or
modify the original spline points right within the Graffiti interface and
the result can be extruded and animated in 3D space. Unlike raster art
which is pixel based, vector art never suffers a loss in quality when it is
resize or scaled. Most company logos are generated in this format.
Automated Rolls, Crawls, Fades and Zooms
Title Container automates the chore of creating rolls, crawls, faces,
zooms and shuffles. With unlimited pages of text per container, built-in
DVE controls, background generator, 27 composite mixable modes with
built-in color correction tools and of course motion blur, creating titles
has never been easier.
Resolution Independent Vector Text
16-Bit Color (host dependant)
Text created in Graffiti using the vector text option remains razor sharp
at any scale. This is important when dealing with titles that change size
at different points along the timeline. Raster-based text will display visible artifacts when scaled up, but because the text in Graffiti is vector
based, it is always sharp.
Generate smoother gradients
and more precise color
correction via an enhanced
color palette, which expands
the available color gamut from
16 million in 8-bit color to
trillions of colors. The result is
that gradients are far less
prone to mach banding or color
stepping. 16-bit color in Graffiti is host dependent and will only work in
hosts that support this feature, such as Avid systems.
Advanced Type-On Title Animation
Graffiti includes some very
powerful type-on controls for
generating animated titles,
which makes it very easy to
create eye-catching animations.
Make titles appear to pop in
to the center of the scene from
behind the camera or slide in
from left or right. Add jitter to
the color or position of a title or page of text.
Text On a Path
Text can be animated along a user
generated vector path in Graffiti.
Options include the ability to set
the angle of the letters along the
path, the position of the letters on
the path and the justification of the
text along the path. The reverse
path option flips the text upside
down along the path. Motion blur
can be added to the text for added realism.
www.bhphotovideo.com
35 Filter Effects
Including Several
FEC Filters
The original filter effects
in Graffiti have all been
Snow Generator
replaced with the more
powerful filters from the Boris Continuum. There are 35 effects filters
including radial blurs, particles, glows, distortions and procedural
generators such as snow, rain and clouds. Also included are several
filters from the Final Effects Complete package.
Support for 3rd Party AE Plug-in Filters
Most 3rd party After Effects filters can be used in Graffiti, and thereby
the editing system into which it is plugged into making it easy to use
some of your favorite AE filters in the host editing environment.
A complete list of the supported filters is available on the Support
section of the BorisFX web site.
COMPUTER VIDEO
B O R IX FX
1101
GRAFFITI
3D Shapes such as Cylinders, Spheres and Cubes
Graffiti includes the ability to
map generated text onto 3D
objects such as cylinders,
spheres and cubes. These
objects can be manipulated in
3D space with controls for
camera, lights and motion blur.
Each of the objects has it’s own
unique features, such as the
ability to disassemble a cube or
unwrapping a cylinder or sphere over time. You can even map text onto
a page turn shape and peel back pages of text to create flip-book style
text animations.
2D and 3D Chart Generator with Import Feature
The Chart Generator enables
users to enter data in a
spreadsheet format via the
built-in chart editor, which is
then converted into flat or
extruded graphical charts.
Charts can take on the form of
pie, bar, line and filled and can
be animated and revealed or
removed in a true 3D environment. Graffiti charts can also be generated
from imported user data, which was saved in Microsoft Excel format.
3D Text with Textures,
Reflection Mapping, Materials and Lights
Any 2D text object can be extruded and converted into a 3D object in
Graffiti. Reflect the background track onto the 3D text that is above it, or
add a separate texture track to the text or use bump mapping for added
photo-realism. The position, orbit and pan camera controls make it easy
to animate the 3D object in 3D space and the depth of field option
emulates the out of focus ranges of real camera lenses.
3D User Modifiable Spline Primitive Shapes
Several spline primitive shapes are included with Graffiti and all of these
shapes can be filled, stroked or even extruded into 3D objects. The
extruded objects can also be reflection, texture and bump mapped for
added realism. Every aspect of the shapes can be modified by the user;
points can be added, deleted or manipulated just like any other bezier
spline shape.
Gradient Generator
A procedural media generator
that is capable of generating
smooth gradients with options
for linear, contour, bevel, edge
and revolve gradient styles. Every
parameter of the gradient can be
animated, including the gradient
color and stops.
Audio Import with Scrubbable Waveform
Title effects are more often than
not accompanied by audio
sound cues like a pop or splash.
Graffiti enables users to import
scratch audio tracks and the
visual cues from the waveform
monitor in the timeline helps
users to synchronize the video
effect with the imported audio
track. The audio track can be
played with the effect preview and the timeline waveform can be
scrubbed to ensure correct synchronization of the audio and video.
Vector Paint System
The vector paint system in
Graffiti can be used to
generate 2D geometric shapes
that can be used as a graphic
element in your composition
or as part of a mask track. The
style palette can be used to
apply beveled edges to filled
or stroked paint and in
addition to this, animated
vector paint strokes can be used to create write-on title effects.
Hardware Accelerated OpenGL Previews
Graffiti takes advantage of the built-in OpenGL libraries included with
most video cards to accelerate the preview of effects on-screen. Although
the level of OpenGL support does not extend to rendered output files,
this feature speeds title effects generation making on-screen previews
immediate, which is especially useful when dealing with 3D elements.
Library Browser with
Hundreds of Preset
Animations
The built-in Library Browser
contains hundreds of preset
compositions, all of which
are user-modifiable.
Categories include lower
thirds, path text and
animated type-on effects.
Users can save customized composition settings into the Library Browser
for future retrieval and use on other projects.
Graffiti For Windows (Mfr # BGW500 • B&H # ARBBGW500),
for Macintosh (Mfr # BGM500 • B&H # BOG52M) ....................................279.95
Graffiti / FX Bundle For Mac (Mfr # BFXGRAFBUNM • B&H # BOBFX9G5M)
for Windows (Mfr # BFXGRAFBUNW • B&H # BOBFX9G5W) .....................459.95
(212) 444-6601• 1-800-947-9901• Quick Dial 831
COMPUTER VIDEO
1102
BORI S F X
FX
Effects, Image Processing, Paint & Rotoscoping
FX is a great value with realistic
lighting, advanced keying and
color correction, compositing,
DVE, vector paint and support for
third-party After Effects filters.
Need an effect completed quickly?
FX offers a Library Browser with
hundreds of high-quality presets
for easy application in over 20 NLEs. Sophisticated vector paint and spline tools allow you to create
animatable masks. More than115 video filters include motion tracking and image stabilization, as well as self-animating
natural effects that easily interact with timeline video.
Unlimited Layers of Media
FX includes the ability to create unlimited layers of media of any size,
which can be used to generate complex composites using the many
apply modes included on each layer. Multiple apply modes can be
mixed to generate unique effects. Layers can be masked with the built-in
pixelchooser matting and masking system or by adding spline-based
garbage mattes. The masking system in FX features both upstream and
downstream masking, making this a very flexible compositing system.
Oversize Image Import for Pan and Scan
Import image-based media of any size into your editing timeline using
FX and animate the position and scale of the layer to create smooth pan
and scan documentary-style effects.
3D Shapes such as Cylinders, Spheres and Cubes
FX includes the ability to map generated text onto 3D objects such as
cylinders, spheres and cubes. These objects can be manipulated in 3D
space with controls for camera, lights and motion blur. Each of the
objects has its own unique features, such as the ability to disassemble
a cube over time or unwrapping a cylinder or sphere over time. Create
bouncing balls mapped with video, cylindrical video tunnels or spinning
video cubes with ease and speed.
3D User-Modifiable Spline Primitive Shapes
Several spline primitive shapes are included with FX and all of these
shapes can be filled, stroked or even extruded into 3D objects. The
extruded objects can also be reflection, texture and bump mapped
for added realism. Every aspect of the shapes can be modified by the
user; points can be added, deleted or manipulated just like any other
bezier spline shape.
Gradient and Procedural Media Generator
Included in FX is a procedural media generator that is capable of
generating smooth gradients with options for linear, contour, bevel,
edge and revolve gradient styles. Every parameter of the gradient can
be animated, including the gradient color and stops.
www.bhphotovideo.com
Motion Blur
Built into every shape track in FX, Motion Blur adds a photo-real touch
to animated objects. Motion Blur can also be used on animated masks
to match the natural motion blur recorded by the camera.
Volumetric Lighting Filters
Use one of the many included lighting filters in FX to simulate volumetric
lighting in which objects appear to be in a scene with hazy air, dust,
smoke, steam, mist or fog. Several filters in FX specialize in creating
different volumetric lighting effects, such as textured or puffy light.
Motion Tracking, Stabilization and Corner Pinning
The motion tracker can track an object over time and apply the recovered motion to a second object, such as paint, to lock the movement of
the paint to the motion of the object in the clip. Image stabilization is
used to remove unwanted camera shake from a clip and the corner pinning function enables the user to accurately and easily pin one image
clip to another with perspective distortion.
Over 115 Filter Effects Including Several FEC Filters
FX ships with over 115 distinct filter effects from Continuum Complete.
Also included are many filter effects from the Final Effects Complete
product. Each of the included filter effects has a built-in preset manager,
which can be used to load any of the 1000 + filter presets designed to
ease effects creation.
The preset manager
can also be used to
save out custom favorite filter effects
settings, which can
be shared across
networked environments. Each filter also includes the pixelchooser
masking and matting system and a built-in motion tracker.
Graffiti / FX Bundle For Mac (Mfr # BFXGRAFBUNM • B&H # BOBFX9G5M),
for Windows (Mfr # BFXGRAFBUNW • B&H # BOBFX9G5W) ...........................459.95
COMPUTER VIDEO
1103
B O R IS FX
GRAFFITI / FX
INTEGRATION AND PRODUCTIVITY
COMPOSITING
GRAFFITI
FX
Custom UI
Custom UI
Number of Supported Hosts
20
20
Vector paint and Rotoscoping
Open GL Acceleration
✓
✓
Vector Paint Only
✓
User Interface with Sticky Magnetic Windows
✓
✓
3D Shapes including cubes, spheres and cylinders
✓
Mini Timeline with Keyframes in Composite Window
✓
✓
Motion Tracking
✓
16-Bit Deep Color (Host Dependant)
✓
✓
Image Stabilization and corner pin tracker
✓
Library Browser with animated preset effects
✓
✓
PixelChooser Masking
Keyframer for offline effects creation
✓
✓
Support for 3rd party After Effects filters
Customizable keyboard shortcuts
✓
✓
High-quality 3D DVE
✓
Searchable Electronic Help System
✓
✓
Upstream and Downstream masking
✓
Static generator for Sony Vegas 7 Host
✓
✓
Preserve layers of imported Illustrator files
✓
Filter Palette and Plug-in Filter Manager
✓
✓
True cast shadows, Track-based Motion Blur
✓
Non-modal Options Palette
✓
✓
Pixel-based Motion Blur
✓
Save customizable workspaces
✓
✓
Import Oversized Images
✓
Resolution Independent
✓
✓
3D Primitives with Bump Maps and Textures
Industry-standard file format support
✓
✓
Preview to monitor via FireWire; Track Sliding
✓
✓
User-defined title safe grid; History Palette
✓
✓
Unlimited
Unlimited
3D Bezier Spline Shapes and Masks
✓
✓
Support for multi-layer Photoshop files
3D Shapes - Cylinder, Sphere, Cube
6
6
Type-on animation by word, character or line
✓
3D Spline Primitives
✓
✓
Animate and extrude multi-layer EPS files
✓
✓
Animatable 3D spline objects
✓
Host Integration
Layers of Media
3D Containers
Animatable Apply Modes
GRAFFITI
FX
✓
✓
✓
✓
✓
Vector Text ; 2D and 3D Text
✓
Auto-animated rolls and crawls
✓
✓
✓
Animated Gradients; Natural Media generation
✓
Static gradients; Animated gradients
✓
✓
Texture Maps; Bump maps and Reflection maps
✓
Natural Media; Import Bitmap Graphics
✓
✓
2D and 3D animated charts; Write-on text effects
✓
Brush Stroke Reveal Effect
✓
✓
Text jitter, text on a path, text randomization
✓
Tumble, Spin and Rotate in 3D Space
✓
✓
Soft Drop Shadows, Edge Borders
✓
✓
TEXT AND PAGE FORMATTING
✓
Resolution Independent Vector text
✓
✓
Library Browser template Mode
✓
Redesigned Noise Map Generator
✓
Appearance Preferences
✓
Film Effects including Film Damage, Film Grain
✓
Support All Outline Font Types
✓
Precise Keying Filters; Particle system and 3D particles
✓
CJK Multibyte Font Support
✓
Distortion filters including Ripple, Wave and Twirl
✓
Native Unicode Support
✓
Volumetric Light filters including Light Zoom
✓
Kerning, Tracking and Leading
✓
Procedural Generators including rain, snow, and clouds
✓
Word Wrap, Page Width, Justification
✓
✓
Skew and Baseline
✓
✓
Top Down Vertical and Left to Right
✓
Corner Pin Tracker; Motion Stabilizer
✓
Per Character Font and Point Size
✓
Motion Tracker, Motion Path Effect
✓
Text Tool (Entering Text Directly Over Video)
✓
✓
Superior Color effects
✓
3rd Party AE Filter Support
✓
GRAPHICS AND TITLING
✓
Motion Blur for Shapes
✓
✓
Spline Compound Paths; Spline Styles; Vector Paint
Import Oversize Images with Alpha
✓
Compositing Apply Modes; Preview to RAM Option
✓
✓
Snap Text to Grid or Guides
✓
Audio Import and Playback; Effects Library Browser
✓
✓
Import RTF or ASCII Text Files
✓
Offline Effects design (Keyframer); OpenGL Support
✓
✓
Insert Text
✓
(212) 444-6601• 1-800-947-9901• Quick Dial 831
✓
1104
COMPUTER VIDEO
BORI S F X
RED
Titling, Effects and Compositing Software
The only integrated 3D compositing, titling, and effects application to deliver unparalleled
performance to over twenty NLE’s including Apple Final Cut Pro, Adobe Premiere Pro, and Avid
systems. Designed specifically for editors, RED offers an unprecedented range of features and
adds a standalone engine for rendering. It integrates 2D and 3D compositing, native vector
titling, motion tracking, vector paint, rotoscoping, a full suite of tools to create and extrude
vector objects, 3D creation and animation, and the industry-leading software DVE technology.
Save time and money using one interface, in one system.
Step-up Features from
Graffiti and FX (Combined)
◆ Film effects including DeGrain, Match Grain
◆ Film process image retouching including Wire
Remover and Light Wrap
◆ Raster Paint
◆ Clone Paint
◆ Paint with Images
◆ Time-based effects including Optical Flow
and Temporal Blur
◆ Motion Path Effect
◆ Standalone render engine with render queue
Windows
◆ RED’s timeline window features the ability to
concurrently display an unlimited number of
comps from the same project, with each
composite occupying a separate tab.
Motion Path Filter
Animating shapes along a custom spline path is
easier than ever with the motion path filter,
which automatically positions nested items
along the length of the user drawn spline path.
◆ Improved project window includes a media
tab, which displays a thumbnail and list view
of all imported media associated with the
open project. Information such as the media
name, type, size and length are displayed.
Clicking on any of the name, length, type or
size buttons will cause the media to be sorted
according to the selected criteria.
◆ Composite window features a show / hide
Subtitle Import
Enables users to import EBU subtitle files and
modify the imported text slates to suit their
requirements right within the RED timeline. As
added bonus to FCP users, the modified subtitle file can then be exported as FCP XML data.
Vector Trace Tool
timeline toggle switch, a color depth toggle
switch, additional play controls, timeline
marker creation and navigation controls and
a button that enables you to add the current
comp to render queue. Composite window
also includes a mini timeline providing users
with the ability to add and modify keyframes
without having to go to the timeline.
Enables the conversion from a raster bitmap
image such as a TIFF, JPEG or a frame from a
movie file to a scalable vector graphic with the
ability to extrude any of the resulting vector
shapes. Options for this function include the
ability to select the color or alpha channel with
which to base the conversion.
User Interface
Motion Key
Options Palette
◆ New UI look and feel to better match an NLE’s
Optical flow based motion key filter enables
users to remove foreground objects from a
scene with little effort. Objects that pass
through a scene can be isolated and removed
completely as if they were never there to begin
with, using only a few rough keyframes which
are required to show the filter where the object
to remove from the scene is located.
Options Palette makes working with functions,
such as grids and guides, or vector splines easy.
It can be left open at all times and changes
made are instantaneous. Available for Vector
Trace, Splines, Grids and Guides, Keyframe Interpolation, Keyframe Generator and Timecode.
◆ Intersect shapes in Z-space
◆ Export to TIFF and PICT
◆ Standalone rendering to Quicktime and AVI
file formats
◆ Export to Flash (.swf )
◆ Import
and animate Photoshop layers
buttons, colors, other UI elements.
• Toolbar is context sensitive
• Button array now features bigger buttons
that are user configurable
• Buttons highlight as the cursor is rolled over
them in the button array, the toolbar and at
the bottom of the controls and composite
windows
• Redesigned render queue delivers more
feedback to the user
• All windows feature tabs that automatically
layer so that they remain visible regardless
of the window size
Optical Stabilizer
Optical stabilizer can be used to remove unwanted camera shake from an image with no
user input other than applying the filter to the
clip and selecting stabilize from a pop-up menu.
www.bhphotovideo.com
BCC Filters
Ships with over 150 filter effects. Each of the
filters includes a preset manager, which can be
used to load any of the included 1500+ preset
effects settings. The preset manager can also be
used to save custom settings, which can be
shared with BCC filters that have been installed
into any other host on your network.
COMPUTER VIDEO
B O R IS FX
1105
RED
Paint Engine
Bump Maps
◆ With the clone paint brush users can clone
areas from one part of the image source to
another area within the same image, or even
from a separate image input taken from
another track in the timeline.
◆ Full support for Wacom tablet pressure
channels, which means that you can use the
data recorded by the Wacom tablet device to
control various aspects of the paint stroke,
such as opacity, size and color.
◆ Support for pressure sensitive Wacom
tablets, les users use the Wacom data to
drive raster paint strokes a variety of different
ways. The data gathered from the tablet
includes: pressure, velocity, direction, tilt,
bearing, jitter, white noise, length and
reverse length. Any one of these can be used
to drive the color, opacity, and size of the
brush along the length of the stroke.
◆ Paint with image media as the paint source.
Any image or clip residing on your system
can be used as a paint brush stamp. Most
standard media file formats are supported
including native photoshop files (both
flattened and layered) and movie media.
In addition to the textures and materials for 3D
extrusions found in earlier versions, RED also
offers bump maps with a variety of presets
(including rock and steel plate), all customizable
and animatable. Bump maps may also be
derived from any still or animated image,
including video. The “height” of the bumps may
be controlled and animated so that surfaces
push up or down. The bump map’s original
color can even be passed through to combine
with the material attributes. As RED ’s 3D
environment continues to evolve and expand, 3D cameras now include control over depth of field.
Natural Filters
◆ Fire is an auto-animated procedural fire
effect which offers control over flame
width and height, color, and movement.
It can use the alpha channel in any
other layer as a Map layer, allowing fire
effects to conform to a pre-composed
image or logo.
◆ Clouds can act as a filter on a layer, or gener-
◆ When using layered photoshop files as the
brush source, each individual layer can be
automatically sequenced over the course of
the paint stroke, either in the order that they
exist in the photoshop file or in a random
order. When using a movie clip as the brush
stamp, the movie will update as the user
moves through the timeline.
ate a sky with clouds and a horizon layer.
Three types of clouds automatically animate
using the direction, angle and speed you set.
Mask and map layers can also be used to
constrain clouds or smoke to a specific shape.
◆ Rain and Snow are auto-animated as well,
and offer a wide range of interactions with
the compositing environment, such as snow
piling up on 3D text, or rain bouncing off a
logo and the bottom of the frame
◆ Stars is an auto-animated star generator
which can composite stars over a sky color
or an image layer. can also use the alpha
channel in any other layer as a map layer,
allowing you to create skies in which stars fill
a precomposed image or logo.
◆ Comet and Sparks offer a variety of possibili-
ties beyond what their name v suggests, as
they are specialized particle generators. As
such, they can be configured in a variety of
ways beyond their auto-animated defaults.
◆ In addition to the conventional oil paint
brush, there is also a spray airbrush option,
which can be used to spray specs of paint
onto the canvas. options for this brush type
include pixel, dot (3x3 pixel array) or blot
(5x5 pixel array) and a flow modulator
function that controls the speed of the paint
as it flows out of the airbrush nozzle.
◆ Roller brush applies paint in the style of a flat
roller brush using a still image or a movie
clip as the brush source. The resulting stroke
can be angled in 3D space, which can be
used to produce a wavy ribbon-like effect.
2D and 3D Animated Charts
Video editors are used to editing, and may be
less familiar with the world of graphic creation.
Even expert graphic artists, however, have had
few options for to quickly create high-quality
animated charts. Rather than trying to squeeze
broadcast-quality results out of multimedia
business applications, you can tap into RED’s
powerful vector graphics to instantly create
pie, bar, line and area charts use data
generated from spreadsheets or input data
directly using a simple Chart Editor.
◆ All raster paint strokes created with any of
the brushes in RED 4 can be converted to a
vector spline shape with the touch of a button. The bezier spline that results from this
conversion can be animated as you would
any other vector spline shape within RED.
Red 4: For Windows and Macintosh (Mfr # BRWM400 • B&H # BOBR4) ..........................................................929.95
Class on Demand: The Complete Training for Boris Red 4
For beginners or advanced users, and hosted by Red expert Steve Oakley, the training program
features six hours of content. (Mfr # CODDVDRED4 • B&H # BOTCODBR4) ........................................................129.95
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1106
COMPUTER VIDEO
BORI S F X
BLUE
Real-time 3D and Motion Graphics Solution for
High-Speed Compositing and Effects Creation
Boris Blue is a standalone 3D compositor for Windows XP as well as a plug-in for Adobe After Effects,
Premiere Pro, and Avid editing and finishing systems. Based on the familiar Boris interface, Blue is
designed for video editors and compositors who want to create stunning 3D looks without the learning
curve and render times associated with 3D applications. Perfect for post facilities with client-supervised
sessions or demanding deadlines, Blue uses the latest generation NVIDIA GPU-based graphics cards
to provide an interactive effects design experience. Blue delivers real-time processing of 2D and 3D
effects as well as real-time playback of video and audio media. Users can adjust effect parameters
during playback, a “front room” capability that is ideal for working side by side with clients. The fast
export to disk, including hardware rendered anti-aliasing, motion blur, and 3D shadows, provide significant time savings.
F EATURES
Particles
Use any 3D object as a particle, including
extruded shapes and imported 3D Models.
Multiple attractors and repellers provide
dynamic particle interaction. Sprite-based
particles simulate Fire, Smoke and Sparks.
◆ Hardware accelerated for real-time
interactivity during effect design and
extremely fast export to disk.
◆ Any shape can be a particle.
◆ A single particle emitter can contain
multiple particle types with their own
individual properties.
◆ Particles can be used to create realistic
simulations like fire, smoke, and sparks.
◆ Particles can be used as design elements like
backgrounds or animated 3D objects.
◆ Particle emitters include useful preset
emitter shapes, also other 3D shapes in the
composition can act as particle emitters.
◆ Particles can be influenced by attractors or
Enhanced Extrusions
Materials
Create custom bevels by defining a curve with
spline drawing tools. Extrude text, spline
primitives, free hand spline drawings and
imported EPS files. Import 3D models in the
.3ds and .obj formats, preserving individual
geometry groups.
Materials include per-pixel lighting controls
and texture, bump and reflection mapping.
Fully hardware-accelerated for blazing speed.
◆ Custom bevel and extrusion surfaces - can
◆ Texture maps allow for mapping media such
be user-defined using Blue spline creation
tools.
◆ Any vector based media can be extruded:
text, spline primitives, imported eps files,
and spline objects drawn with the Blue
spline creation tools, or pasted from another
application.
◆ It is also possible to start with a pixel-based
image and use the Blue Bitmap to Vector
Trace feature to create a vector-based spline
which can then be extruded.
◆ Hardware accelerated for real-time
interactivity during effect design and
extremely fast export to disk.
emitters to simulate wind or other forces.
◆ Particle Emitters can be animated along a
user defined path
www.bhphotovideo.com
◆ Per-Pixel Lighting controls allow for precise
individual control over Ambient, Diffuse, and
Highlight colors and intensities.
as moving video, still graphics, gradients, or
natural media (Blue generated procedural
textures) to the surface of any 3D object.
◆ Ceate the illusion of 3D bumps by affecting
how the material responds to light.
◆ Reflection maps can be used to define an
image the material will seem to reflect - Blue
reflection maps include support for 6-layered
cube maps which can create a very realistic
3D reflection and can also be displayed as an
environment map for the 3D scene.
◆ Blue Materials include support for masking
(including user-defined masks that can be
created with Blue spline creation tools), as
well as cropping and tiling of texture maps.
◆ Also includes Materials which use anisotropic
lighting to simulate shiny surfaces such as
Metal and other specific materials.
COMPUTER VIDEO
B O R IS FX
1107
BLUE
Deformers, Image Processors
and Generators
Comparing Blue and RED
Boris Blue and RED are both professional compositing and motion graphics solutions used
to achieve outstanding visual effects. Even though Blue is based on the award-winning Boris
RED, the two products are actually quite different from one another. When used together
they can create visually stunning results faster then ever before.
Advantages of Blue over RED
Vertex Deformers provide true 3D warping of
3D objects. Blue’s Deformers, Image processors
and generators are fully hardware accelerated
for blazing speed.
◆ Deformers provide true 3D distortions that
• 100% hardware preview and rendering to
disk means faster speed.
• Imported models - Blue can work with a
large number of polygons.
• Custom spline-based bevels on extrusion
give Blue more modeling power.
can apply to any 3D shape.
• Material shaders include bumps and re-
◆ Image Processors can be applied to any
texture map or at the scene level.
◆ Image Processors include utility effects such
flections, giving users more control over
3D materials.
as luma and color adjustments and keying
effects for blue/green screen keying, as well
as stylize effects, 2D distortions, and wipes.
◆ Generators include animatable noise-based
effects such as clouds and electricity.
◆ Hardware accelerated for real-time
interactivity during effect design and
extremely fast export to disk
◆ New 3D Deformers include:
• 3D deformers– more animation options
• Sprites and 3D models, more particle
options and on screen interaction.
• Movie direct streaming from hard drives
with Audio - no need to preview to RAM.
• Animate multiple objects on spline based
paths.
• Type On effects allow intersection of objects in 3D - more options than in RED.
Advantages of RED over Blue
• More integrations with many NLEs - not
yet in Blue
• Mac OS support - not yet in Blue
• Wider graphics card support - not yet in
Blue
• Chart generator - not yet in Blue
• Pixel Chooser - not yet in Blue
• Compatible settings with FX, Avid FX and
Graffiti - Blue has own settings format
• Large selection of software filters - not yet
in Blue (many made into Blue shaders but
not all, Blue accepts plug in filters such as
Continuum but they are not included)
• Curl
• Flatten
• Mesh Chaos
• Mesh Shatter
• Model Displacer
• Pre-Transform
• Pulse
• Slice-Stretch
• Un-Deform
◆ New Image Processor Effects include:
Sophisticated Animation Made Fast and Easy
Blue includes tools such as Type On Containers and the Motion Path filter for more convenient
creation of complex 3d animations. Combined with full hardware acceleration, these high quality
effects can be designed and exported with amazing speed.
◆ Hardware accelerated for real-time
interactivity during effect design and
extremely fast export to disk.
◆ True 3D animation of individual text
characters while they are preserved as a
single editable text block.
◆ Easily design sophisticated text reveal,
remove, and wave effects.
◆ Text appearance can be changed globally by
applying Extrusion Styles from the Style
Palette.
• Film Grain
• Film Process
• Glow Edge
• Glow Light
• Glow Light Replace Color
• Glow Remove Color
• Mist
Boris FX Blue 2.5: For Windows (Mfr # BLUEW200 • B&H # BOB2W).............................................................................994.95
Crossgrade Boris Red to Boris Blue for Windows: Allows owners of Red to purchase Boris Blue at
a reduced price when compared to buying the full version of the software.
Mfr # BLUEXW100 • B&H # BOCBRBBL) ...................................................................................................................................................279.95
Crossgrade Boris Blue 2 to Red for Windows: Allows Blue owners to crossgrade to Red at a
reduced price when compared to buying the full version of the software.
(Mfr # BLUEXW200 • B&H # BOCB2R) ......................................................................................................................................................294.95
(212) 444-6601• 1-800-947-9901• Quick Dial 831
COMPUTER VIDEO
1108
BORI S F X
CONTINUUM COMPLETE
Native Filters and Transitions
Boris Continuum Complete (BCC) is an expansive plug-in filter set that lets you create effects from
the practical to the inspired directly in your native host interface for unprecedented workflow.
Over 180 filters and 1,500 presets include lights, advanced keying, matting, image processing,
distortion, temporal effects, generators, wipes, and motion tracking. These filters provide the
creative freedom to animate your graphical elements or video at any speed, acceleration, or
position you want. New BCC 5 filters include UpRez, Pan and Zoom, MatchMove, LED, Scanline,
Prism, Damaged TV, Turbulence, Noise Map 2, and Color Choke. BCC 5 also delivers user workspace enhancements including on-screen and contextual controls for faster effects design.
The BCC 5 Product Family consists of:
* BCC 5 AE for Adobe Creative Suite 3 (also supports earlier versions of
After Effects, Premiere Pro, and After Effects-compatible applications.
* BCC 5 FxPlug for Apple Final Cut Studio 2
* BCC 5 AVX for Avid editing and finishing systems
F EATURES
BCC5 AE Key Features
BCC5 FxPlug Key Features
◆ Onscreen controls for easy parameter set up
◆ High quality SD to HD conversion tool
◆ Motion Key for removing foreground object
◆ Professional Ken Burns effect with large still
based on Optical Flow
◆ Image Stabilization without point trackers
◆ Optical Flow based footage retiming and
motion blurl
images
◆ Integrated Match Move right inside Final Cut
timeline
◆ More than 1500 presets, save your own set-
tings and share with other editing systems
◆ Original eye-catching effects such as Artist’s
Poster, LED, Cartooner, Rays
◆ Texture generators for Brick, Cloth, Wood
Grain
◆ Precise Keying and advanced Matte filters
◆ Motion Tracking is integrated into all
appropriate effects
◆ Integrated PixelChooser masking tool
◆ Natural effects such as Fire, Rays, Sparks,
Stars
◆ Compositing tools: Light Wrap, Matte
chocker
◆ Each filter includes integrated online help
◆ Common post production tasks are
simplified with wire removal, light wrap, as
well as dust and scratches
◆ OpenGL filters add new unique looks to your
video with blazing rendering speed
◆ Advanced high quality keying
◆ Stack multiple filters on keyed elements or
titles
◆ Sophisticated layer blending
◆ Optical Flow creates keyframable motion
effects and super smooth slowmotion
◆ A wide variety of effects such as Blurs, Glows,
Light Rays,
◆ Wave Distortions, Particle Wipes, and 3D
Shapes
◆ Film effects for making video appear more
like film
◆ Auto-animating Wipe Transitions
◆ Light effects: Glare, Glint, Glitter, Light Sweep
◆ Special effects: Damaged TV, Scanline, Prizm
Boris Continuum Complete 5.0 AVX for Mac (Mfr # BCCAVXM500 • B&H # BOCC5AMCM) ..................1994.95
◆ Time effects: Jitter, Looper, Sequencer,
Boris Continuum Complete 5.0 FxPlug for Mac (Mfr # BCCFXPLUG • B&H # BOCC5FXPM) ....................849.00
Temporal Blur
◆ Performance and quality
◆ 16-bit processing, OpenGL acceleration, and
multi-core performance
Boris Continuum Complete 5.0 AE for Mac (Mfr # BCCAEM500 • B&H # BOCC5AEM) ..............................849.00
Boris Continuum Complete 5.0 AE for Windows (Mfr # BCCAEW500 • B&H # BOCC5AEW) ...................849.00
Boris Continuum Complete Training DVD for Final Cut Pro and Motion
(Mfr # BCCFCPTRDVD • B&H # BOTCCAE) ...........................................................................................................................98.95
www.bhphotovideo.com
COMPUTER VIDEO
B O R IS FX
1109
CONTINUUM COMPLETE
BCC5 AVX Key Features
◆ Working in the native Avid interface reduces
SOME OF THE NEWEST FILTERS
your learning curve to virtually zero
Pan and Zoom Filter
◆ Advanced image processing algorithms
which enhance image quality while
transform scaling a clip
◆ Pan and Zoom filter with extensive
on-screen UI and rotation control
◆ Avid AVX 2 architecture support including
extensive use of HUD (heads-up display)
user interface controls and Avid's advanced
keyframing mode
◆ EZ parameter display mode and ability to
display only modified or animated filter
parameters
Designed to make easy work
of documentary style Pan
and Zoom techniques. The
filter uses on-screen controls
for the size and position of
the zoom region along with
additional on-screen UI for
the anchor point, and a
preview window where you
can see a small rendering of the final result. This filter employs very sophisticated image sampling
technics with edge detection, providing a very high quality image result without the need for
additional post processing or filtering.
◆ The unique PixelChooser provides
LED Filter
integrated channel or region-based masks.
◆ A custom option lets users draw an
animatable vector-based bezier spline
masks using onscreen controls
◆ Motion Tracking is integrated into all
appropriate filters. The Motion Tracker lets
you pre-process your image to increase
accuracy
◆ New OpenGL category includes hardware
accelerated filters such as Glint, Lens Flare,
LED, Prism, Damaged TV
◆ Volumetric lighting filters including Rays
Cartooner, Texture, Streaky and Light Zoom
◆ Combine and animate apply modes in a
single layer
◆ Auto-animating wipes use a unique
influence parameter to create custom
shapes based on channel information
◆ Precisely key with spill suppression, Chroma,
Luma and Two Way Key, Matte Choker, Light
Wrap and Wire Remover
Designed to make an image,
clip or text element with
alpha appear as though it
was constructed out of an
array of blinking or solid LED
lights similar to the display
boards seen in sports
stadiums. By default, the lights take their color from the clip to which it was applied and can be
set to either square or round diodes or “bulbs”. Alternately the filter can apply a tint of color over
the media element to which it was applied.
Scanline Filter
Designed to generate rolling
RGB scanlines over the
source image clip, emulating
the effect of a computer
monitor which was shot on
video tape or film. The RGB
bars rolling scan lines that
the filter generates can be offset from each other in yx space and time to generate photorealistic
effects. The filter also includes a user controlled noise generator function for added realism.
◆ Motion Key foreground object removal
◆ State-of-the-art Time filters include Temporal
Blur, Velocity Remap, Jitter, Looper and
Optical Flow
◆ Primary and secondary color correction filter
◆ 35 real-time processing filters and 16
real-time static texture generators
◆ Create 3D geometric shapes such as spheres
and cylinders, which intersectin Z-space with
soft cast shadows and 3D spotlights
◆ Over 1500 factory installed presets
◆ Deep color support with 16 bit image
processing
Damaged TV Filter
Emulates the appearance of
a CRT style television set that
is receiving a bad antenna
signal or is in need of repair,
complete with gun offset,
distorted edges, image roll,
noise, scan lines, and interference lines. This powerful
filter features both fully
automatic or manual modes of operation. When using it in automatic mode, the filter will automatically animate image roll, scan lines, noise or any other visible parameter - and even though
the filter is being used in automatic mode, the user retains full control over every parameter.
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1110
COMPUTER VIDEO
C I NE F O RM
NEO • ASPECT • PROSPECT
CineForm offers two families of products, each offering an online compressed Digital Intermediate
(DI) workflow for HD post-production, whether your source is HDV, full-raster HD, or up to 4K.
This means you never have to work with proxy files, and you never have to conform a project
at completion - you’re always working with full-resolution source material using the Visually
Perfect CineForm Intermediate codec.
Each enables cross-platform and cross-applications compatibility:
The NEO family delivers a software post-production environment compatible with most highresolution video/film applications on Windows and Mac OS X, including those from Adobe, Apple,
Autodesk, Sony, and others. NEO supports spatial resolutions from HDV to 4K, I/O precision up to12 bits, and numerous
format conversion features including inverse telecine for 24p workflows and export compatibility with RedCine. Features
are similar on both platforms whenever possible, and resulting CineForm files are always compatible across platforms.
The Aspect and Prospect family run on Windows, and include all the features of NEO. But in addition, Aspect and
Prospect include CineForm's real-time video processing engine for Adobe Premiere Pro that delivers unmatched real-time,
multi-stream editing performance on the Premiere Pro timeline that eliminates the need for rendering for most common
functions including transitions, effects, titles, motion, etc., all performed without rendering. This results in a very efficient
workflow, allowing you to spend time editing, not rendering. In fact, with the Aspect HD or Prospect HD/2K real-time software engine, you can play from 3 to 6 HD streams in real-time on the Premiere Pro timeline - simultaneously. CineForm’s
real-time video engine is software-based, so it scales fully with CPU performance and is never limited in functionality as is
common with hardware-based architectures. Prospect HD/4K also include the CineForm QuickTime codec for Mac.
F EATURES
◆ “Normalize” myriad camera, tape, and file
formats into CineForm AVI or MOV files as
your new digital master
◆ Remove telecine (24p from 60i), de-interlac-
ing, spatial resampling, plus many more preprocessing features
◆ Up to 4K spatial resolution, 12-bit precision,
plus 4:2:2, 4:4:4:4, and Raw chroma formats
◆ Converted files are Windows and Mac
compatible: Premiere Pro, After Effects,
Vegas, Final Cut Pro, Motion, etc.
◆ Post-production is always “online” meaning
you edit the CineForm master files – no
proxy files or conforming
◆ CineForm files are visually equivalent to
using uncompressed files – but smaller.
Neo HDV (Mfr # N2040DL • B&H # CINHD) .........219.95
Neo HD...................................................................CALL
Neo 4K ...................................................................CALL
Aspect HD (Mfr # A1050 • B&H # CIAHDQ) .........449.95
Prospect HD (Mfr # P3030 • B&H # CIPHDQ) .....949.95
Prospect 4K ........................................................CALL
Cineform Workflow
Upon source acquisition, CineForm Intermediate or CineForm RAW files become the online
digital master throughout a project – from acquisition, into long-term archive, through post, and
into final export. This is possible because CineForm files offer the highest visual fidelity, easily holding up to the rigors of a multi-generation or effects-heavy workflow.
CineForm Intermediate files are source independent, allowing conversion of varying media, from
SD to HD to 4K, with I/O precision up to 12 bits, and with 4:2:2 or 4:4:4 chroma. Variable frame-rate
support, inverse telecine processing, plus spatial and temporal resampling are but a few of the optional source pre-processing options. CineForm files are compatible across operating systems and
applications, offering the industry’s most versatile and interoperable workflow, with support for
both Windows .AVI and QuickTime .MOV wrappers.
Throughout post, CineForm’s compressed DI workflow frees you from restrictions imposed by oldstyle proxy/conform methodologies in which many required elements can only be performed after
a final conform. When using a CineForm workflow your media is always online, so you can color
correct or composite at any point in your project, or deliver a high-resolution review copy or film
festival export on demand. Keying CineForm Intermediate files is a breeze as color information is
so accurately preserved that key results are virtually identical to using uncompressed sources.
To share files or portions of a project with a client or others, the CineForm decoder (Windows or
Mac OS X) is easy to download and install directly from CineForm’s website.
Upon project completion, the cross-platform compatibility of CineForm files makes it easy to export to virtually any desired presentation format, right from the timeline of your favorite NLE,
whether for film or digital projection, broadcast, or Internet delivery. And because CineForm files
are the Digital Master, your completed project and associated CineForm media are now ready for
long-term project archive. Whether you are a seasoned film or television professional, or are taking
your first step into HD, CineForm's software products are designed for your post production needs.
www.bhphotovideo.com
COMPUTER VIDEO
1111
C IN E F O R M
NEO • ASPECT • PROSPECT
Operating System
NEO-HDV
NEO-HD
NEO-4K
Aspect HD
Prospect HD
Prospect 4K
Windows
Windows
Mac OS1
Windows
Mac OS1
Windows
Windows
Mac OS1
Windows
Mac OS1
Max spatial resolution (capture/export)
1440
1920
Unrestricted
1440
1920
Unrestricted
I/O Precision
8-bit
10-bit
10- / 12-bit
8-bit
10-bit
10- / 12-bit
YUV 4:2:2
YUV 4:2:2
YUV 4:2:2
RGB 4:4:4
RGBA 4:4:4:4
YUV 4:2:2
YUV 4:2:2
YUV 4:2:2
RGB 4:4:4
RGBA 4:4:4:4
RAW Bayer
CineForm RAW Encoding (Windows Only)
—
✓
✓
—
✓
✓
480i/p, 720p, 1080i/p
✓
✓
✓
✓
✓
✓
Chroma Format
Decoder Resolution - Unrestricted
✓
✓
✓
✓
✓
✓
CineForm RAW Workflow
—
—
—
—
—
✓
Active Metadata: WB, Color Matrix, 3D LUT3
—
—
✓
—
—
✓
Acquisition sources:
—
—
—
✓
✓
✓
- HDV including scene split
✓
✓
✓
✓
✓
✓
- DVCPRO HD MXF
✓
✓
✓
✓
✓
✓
- Sony XDCam HD / XDCam EX Conversion
✓
✓
✓
✓
✓
✓
- JVC TOD File Conversion
✓
✓
✓
✓
✓
✓
- HDMI (using Blackmagic Intensity)
✓
✓
✓
✓
✓
✓
- Single-Link HD-SDI (AJA or Blackmagic)
✓
✓
✓
✓
✓
✓
- Dual-Link HD-SDI
—
—
Not Yet Supported
Not Yet Supported
Not Yet Supported
Not Yet Supported
HDV/P2 camcorders - special mode support:
✓
✓
✓
✓
✓
✓
- Canon: i) 24p; ii) 24F / 25F / 30F
✓
✓
✓
✓
✓
✓
- JVC: i) 24p/25p; ii) 50p/60p
✓
✓
✓
✓
✓
✓
- Panasonic: Variable Frame Rate
✓
✓
✓
✓
✓
✓
- Sony: i) 24p; ii) CineFrame
✓
✓
✓
✓
✓
✓
RedCine Export Compatible (CineForm 444)
—
—
✓
—
—
—
Selectable Wrapper - AVI or MOV
✓
✓
✓
✓
✓
✓
AVI <--> MOV Rewrapping
✓
✓
✓
✓
✓
✓
Image Spatial Resampling
✓
✓
✓
✓
✓
✓
Telecine Removal (24p in 60i)
✓
✓
✓
✓
✓
✓
Image Flip (for 35mm adapters)
✓
✓
✓
✓
✓
✓
DPX <--> CineForm Batch File Conversion2
✓
✓
✓
✓
✓
✓
Slow Motion - Up To 2.5X
✓
✓
✓
✓
✓
✓
M2T File Export from Premiere Pro Timeline
—
—
—
✓
✓
✓
Real-time Editing Engine for Adobe Premiere Pro
—
—
—
✓
✓
✓
- Keyframeable Color adjustment
—
—
—
✓
✓
✓
- Over 40 Parameter-Controllable Transitions
—
—
—
✓
✓
✓
- Slow-motion and Frame Hold
—
—
—
✓
✓
✓
- Static and Moving Titles and Video Overlays
—
—
—
✓
✓
✓
- Pan/Scan/Rotate/Zoom (PSRZ).
—
—
—
✓
✓
✓
32-bit Floating-point Effects Processing
—
—
—
—
✓
✓
Multiple Spatial Resolutions on Timeline
—
—
—
✓
✓
✓
CineForm MOV Render Output
—
—
—
✓
✓
✓
Batch Capture HDV with Timecode
—
—
—
✓
✓
✓
Batch Capture HD-SDI with Timecode
—
—
—
—
✓
✓
HD-SDI Monitoring of Editing Timeline (AJA only)4
—
—
—
—
✓
✓
1. CineForm Mac OS codec only 2. Not yet shipping 3. Currently supported only in CineForm RAW. Will be added for CineForm 444
4. Monitoring using OEM Xena-2K is not yet supported, but it is on the list to complete
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1112
COMPUTER VIDEO
DIGIEFFECTS
PLUG-INS
For Adobe After Effects, Premiere Pro,
Apple Final Cut Pro and Autodesk Combustion
Aurorix
While After Effects users have demonstrated that the program is capable of creating almost anything,
they are often limited by the source footage they have. Aurorix provides some interesting texture and
pattern generation filters such as Soap Film and Strange Nebulae. Unique distortion filters such as
Infinity Warp and Turbulent Flow can use existing footage to make original patterns as well. Aurorix
also comes with tools for simulating lighting, including the 3D Lighting filter that can also add bump
maps for an embossed look. Finally, Aurorix includes Aged Film, the filter for adding grain, hair, dust,
and discoloration to footage, which eventually went on to spawn DigiEffects popular Cinelook.
Aurorix: For Macintosh and Windows...........................................................................................................................................................CALL
Beserk
Berserk is an awesome set of incredibly useful and creative After Effects tools. A pack of 20 awardwinning special effects plug-ins, Beserk offers atmospheric effects including StarField and FogBank,
distortions including Perspectron and Cyclowarp, and stylistic effects like VanGoughist and
Night/Bloom. One of the 20 plug-ins is called Blizzard. Like its name, Blizzard uses a particle system
to create a simulated snow storm. You can adjust the number of flakes, speed and size of the flakes,
lilt amount, gravity and the opacity of the flakes. You can simulate light snow or full blizzards. By
combining Blizzard with other filters, you can create interesting animated textures.
Beserk: For Macintosh and Windows.........................................................................................................................................................CALL
Natural Forces
Simulate
The most potent power in the world is
the power of nature. Water cuts canyons
from solid rock, fog can cut visibility to
mere feet, stars inspire, fire consumes.
Natural Forces harnesses the power of
nature for you to command. Snow, rain,
fog, clouds, fire and electrical arcs are just
a part of this collection of effects.
Creating effects in-camera is a time-tested
method of constructing illusion. However,
there are occasions when limitations in time,
budget (or pre-planning) prevent practical
effects from being executed in the field.
Simulate collection enable you to deal with
everything from shot exposure to an aged
film aesthetic to firearms discharge.
Natural Forces: Vapor
A collection of effects designed around the creation of clouds, fog, haze
and smoke...............................................................................................................CALL
Simulate: Illuma
Light and filter options like Halo,
Lightracer Photogust and Luminus ...............................................................CALL
Natural Forces: Aqua
A collection of effects focused on various forms of weather and water
effects including Rain, Puddle and Waterbeads........................................CALL
Simulate: Camera (Mfr # SIMULATECAMERA • B&H # DESIMULATECAMERA)
Providing practical lighting and camera filter effects including Archive,
Overexposure, Iris, Destabilizer and Lens Flare .........................................CALL
Natural Forces: Astro
A collection of effects focused on space with Comet, Star Dust,
Star and more ........................................................................................................CALL
Simulate: Pyor
You guessed it. Muzzleflash, Laser, Fireworks, Inferno, Sparkler and
Voltage effects .......................................................................................................CALL
www.bhphotovideo.com
COMPUTER VIDEO
DIGIEFFECTS
1113
DAMAGE
Damage harnesses the destructive power of lame rabbit ears, bad BNC cables, tree branch-obstructed satellite dishes, poorly tracking VHS machines, scratched DVDs, low fidelity security cameras, micro-datarate cell phones...the list goes on. Damage contains four plugins:
Blockade: Blockade makes your clip look like it is highly compressed
and being transmitted through a very bandwidth-limited pipe. Areas of
subtle color subsample aliasing blocks blending with frame stuttering
mimic low data rate rate video acquisition devices. Essential for simulating internet based micro cam display or personal video communication.
Artifact: Artifact simulates lost DCT blocks and frame dropping, most
often seen when a digital video file suffers from corruption or a satellite
feed is hampered by weather. If you’ve ever experienced these kinds of
defects, you'll instantly recognize them. Make sure you warn clients and
your house engineer that it’s only an effect...
Skew: Uniquely analog/broadcast image
badness like noise, image shearing, ghosts...
Interference: If it's television you want,
traditionally you’ll need some sort of
interlaced field scanning to achieve that
sense of “broadcast video.” Interference
creates the look of interlaced video fields, even on progressive footage or
still images, adding noise, colorization and offset separately for each field.
Interference will make any footage superimposed on CRTs in your scenes
instantly more credible.
DAMAGE: For Macintosh and Windows ...................................................................................................................................................................................................................CALL
Buena Depth Cue
Buena Depth Cue is a set of plug-ins that adds realistic depth effects to 3D layers. Each effect works
on a 3D layer and changes based on the location of the layer, lights, and cameras in 3D space.
Included with Buena Depth Cue are seven plug-in effects including:
3D Composite: Allows 2D footage with a
depth channel, such as you might generate
in Maya, 3D Studio Max, or other 3D applications, to interact with After Effects’ 3D layers.
Depth: Displays the depth of each layer in
grayscale for use as a gradient map with
other plugins, or with other applications.
Falloff Lighting: Lights your layers realistically. Layers farther away from
lights are illuminated less than those near lights.
Fog: Shrouds your layers in a light haze or a deep, murky mist. Objects
farther away from the camera have more fog applied to them than
objects close to the camera.
Rack Focus: Produces realistic depth of field effects and focus pulls,
including simulating boke and anamorphic lens effects.
Camera Mapper: Turn 2D stills and footage into 3D scenes right in After
Effects. It works by projecting parts of your 2D footage onto 3D solids in a
composition, then rendering the composition from different angles.
Flipside: Maps one layer onto the back side of another layer. This allows
you to flip the front layer over to reveal the back layer. It does this without creating any gap between the 2 layers, and without the occlusion
problems that sometimes show up when trying to put 2 layers very close
together in a composition.
Buena Depth Cue
For Macintosh and Windows..............................................................................CALL
Delirium
Delirium contains over 39 special effects plug-ins. It also contains tools for creating particle-based
fire, smoke and bubbles. These particle effects enhanced with built-in turbulence processing to create
realistic imagery without resorting to complex 3D programs. Many of the plug-ins AutoAnimate,
meaning that many of the plug-ins will begin to animate as soon as they are applied to an image,
meaning you no longer have to tweak parameters to get quick results.
All plug-ins can save, load and modify presets. No need to navigate to find a preset - just click the
pop-up! Each plug-in has several presets to get you started quickly. FireWorks creates amazing
pyrotechnic displays automatically – it’s an AutoAnimate plug-in. It can create spectacular spherical
explosions complete with sparkly trails quickly and easily.
Delirium: For Macintosh and Windows.....................................................................................................................................................................................................................CALL
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1114
COMPUTER VIDEO
CON TO U R D E S I G N
MULTIMEDIA CONTROLLER
ShuttlePRO
ShuttleXpress
The ShuttlePRO is a powerful productivity
enhancement tool for video and audio
editors. It ships pre-configured for many
leading video and audio applications and
you can easily customize it for virtually
any application. The ShuttlePRO is
designed for ergonomic integrity and
maximizing productivity, allowing onehand access to the fully programmable
buttons and jog/shuttle knob.
Modeled after the award-winning ShuttlePRO, the
ShuttleXpress brings professional multimedia control to
users at an even more attractive price. It can be used by
itself or along with a ShuttlePRO
for multiple device control. The
ShuttleXpress is a 5-button jog
and shuttle multimedia control
surface. Comes pre-configured
or can be customized for
virtually any application.
◆ Nine of the buttons have removable keycaps for easy labeling and
referencing.
◆ The inner ring or ‘jog’ rotates through 360° and provides precise frame-by-
frame control.
◆ Designed for ergonomic integrity and maximizing productivity,
allowing one-hand access to the five fully programmable
buttons and jog/shuttle knob.
◆ The inner ring or ‘jog’ rotates through 360° and provides precise
frame-by-frame control.
◆ The outer black ring or ‘shuttle’ is rubberized and spring-loaded; it facilitates
fast forward and rewind.
◆ You can also use the jog and shuttle for many other purposes such as
scrolling, volume control, and sequencing.
ShuttlePRO (Mfr # SPROV2 • B&H # COSPRO2) .................................................................79.95
◆ The outer black ring or ‘shuttle’ is rubberized and spring-loaded;
it facilitates fast forward and rewind.
◆ You can also use the jog and shuttle for many other purposes
such as scrolling, volume control, and sequencing.
ShuttleXpress (Mfr # SXPRS • B&H # COSX) ...............................................49.95
F O C U S E N H A N C E M E N TS
HD FILE CONVERTER PRO
Panasonic P2 cameras and decks capture DVCPRO HD, DVCPRO 50 and DVCPRO/DV
video and audio in the industry-standard P2 Material Exchange Format (MXF). With
HD File Converter Pro, you can convert HD and SD P2 MXF files to or from the most
popular DVCPRO HD, DVCPRO 50 and DVCPRO/DV-based video and NLE file
formats. HD File Converter Pro sports an intuitive drag-and-drop interface that
Not actual
product image
makes multi-format digital video file conversion remarkably fast and easy.
◆ Convert to and from DVCPRO HD, DVCPRO 50 and DVCPRO/DV formats
◆ Create XML metadata files for DIF files
– In DVCPRO HD mode, convert to/from P2 MXF, QuickTime, AVI and
RawDV
◆ Generate the P2 MXF directory structure and thumbnails
– In DVCPRO 50 mode, convert to/from P2 MXF, QuickTime, AVI and RawDV
– In DVCPRO/DV mode, convert to/from P2 MXF, Avid OMF, QuickTime,
RawDV, AVI Type 2, Matrox AVI, Canopus, and more
◆ Insert or extract embedded audio
◆ Combine several video files to create one large clip
(spanning clips support)
◆ Take advantage of auto conversion and FTP transfer
HD File Converter Pro (Mfr # ASYF1279-01• B&H # FOHDFCP) ..................................................................................................................................................................298.95
www.bhphotovideo.com
COMPUTER VIDEO
G R A S S VA L L EY
1115
PROCODER 3
Ultimate Format Converter
ProCoder 3 software combines speed and flexibility into a streamlined
video conversion tool. Widely acknowledged as the leading software
transcoder, it features extensive input/output options, advanced
filtering, batch processing, and an easy-to-use interface. Whether
encoding MPEG video for DVD production, producing Window
Media for streaming or transcoding between NTSC and PAL,
ProCoder 3 makes video format conversion quick and easy. With it
you can encode a single source to multiple targets simultaneously,
run multiple conversion jobs back-to-back in batch mode, or use
drag-and-drop preset icons to start conversion with a single click. ProCoder 3 has an array of high-performance features,
including a design that efficiently leverages CPU power, broad codec support, local and networked use capabilities to fit
your workflow, and queue management to ensure your jobs are performed in just the right order.
F EATURES
◆ Professional high-speed, high-quality
encoding and conversion of video to all
popular formats including MPEG-1, MPEG-2,
Windows Media, QuickTime, and more.
◆ Grid encoding for MPEG-2 (transport stream,
Speed Without Limits
◆ Using Canopus scalable-technology architecture, ProCoder 3 leverages the full power of your
CPU, including quad-core machines. The more powerful your system, the faster the software’s
conversion speed. In many cases, it can transcode files faster than real time, outperforming many
costly hardware encoders.
program stream).
Any Format In/Out
◆ Support for multiple CPUs within one PC
(including quad core).
◆ ProCoder 3 software includes conversion options for many popular video codecs out of the box
◆ Stitching of multiple source files to create
single file.
◆ Multiple color-space support including YUV
to support encoding needs ranging from mobile/handheld to high-definition (HD) formats.
These codecs include the high-quality, high-speed, Canopus DV and Canopus HQ models as well
as H.264 and MPEG-2 encoders. It also supports codecs already installed on your system.
◆ The ProCoder 3 software also imports still images for animation-sequence encoding and imports
and RGB.
external audio files for music and narration, or for multiplexing with elementary video streams
for output.
◆ Aspect-ratio and NTSC/PAL conversion,
frame-rate interpolation, and automatic
adaptive de-interlacing.
Local/Networked Watch Folders
◆ 3:2 pull-down and inverse telecine.
◆ You can configure ProCoder 3 software to automatically encode any video file copied to a
◆ Multi-pass VBR processing.
designated watch folder. You can also assign specific encoding parameters to the desired watch
folder and place it on a network so that anyone, including editors on Macintosh operating
system-based platforms, can encode video.
◆ Full HD support for MPEG and Windows
Media.
◆ VOB file and DVD-video image creation with
Queue Management
chapter points.
◆ Save droplets for quick, drag-and-drop
conversion.
◆ Separate audio import/export options
including multiplexing and audio mapping.
The queue manager within the ProCoder 3 lets you manage multiple transcoding jobs easily,
letting you keep track of which jobs are being encoded, and pause, remove, or restart jobs as
needed. The queue manager also provides information on each job’s
progress, as well as warnings or error messages if they occur.
◆ Export plug-in for EDIUS and Adobe
Premiere Pro applications that provides
extensive timeline export capabilities
including DVDvideo image export options.
ProCoder 3 Encoding Software for Windows
(Mfr # 606195 • B&H # GRPC3) ......................................................................................................449.95
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1116
COMPUTER VIDEO
GR A S S VA L L E Y
EDIUS NEO
Affordable Non-Linear Editing
Begin your journey into the world of standard definition (SD) and high definition (HD) video editing
with Grass Valley’s EDIUS Neo. Featuring a basic, entry-level range of tools and features, the EDIUS
Neo software is perfect for those new to video editing. Yet it also provides powerful nonlinear editing
features common to all GV EDIUS
solutions, such as real-time, multi-track,
mixed-format HD/SD editing, chroma
keying, titling, and DVD authoring.
Built on the same highly-acclaimed
technology as the EDIUS Pro application,
EDIUS Neo software offers native editing of various formats
including AVCHD, HDV, DV, Windows Media, and QuickTime—
and provides a seamless, real-time workflow that supports the mixing of all formats within the same timeline. And should
you need to extend your editing capabilities, you can upgrade to the EDIUS Pro application at any time.
F EATURES
◆ Realtime, mixed format HD/SD editing,
Exceptional Mixed-Format Editing
including DV, HDV, AVCHD, MPEG-2,
Windows Media and QuickTime video
Featuring unrivaled realtime video transcoding technology, EDIUS Neo performs realtime
conversion between different HD and SD resolutions, aspect ratios and frame rates. Edit 1080i on
a 4:3 SD timeline, use NTSC together with PAL or combine them all into a 720/24p project without
wasting a single moment on conversion or rendering. EDIUS Neo also features realtime playback
and DV output of all effects, keyers, transitions and titles.
◆ Fast, flexible user interface, including unlim-
ited video, audio, title and graphics tracks
◆ Realtime editing and conversion of different
HD/SD aspect ratios, such as 16:9 and 4:3.
Unsurpassed Image Quality and Performance
◆ Realtime editing and conversion of different
frame rates, such as 60i, 50i and 24p.
◆ Realtime editing and conversion of different
resolutions, such as 1440 x1080, 1280 x 720
and 720 x 480.
EDIUS Neo features the revolutionary Canopus HQ Codec. Designed with Scalable Technology,
this innovative codec offers the highest image quality and performance available. It provides
superior Luma and Chroma sampling of HD video, plus offers adjustable bitrate for increased
video quality when capturing and encoding on high-performance systems.
◆ Realtime HD/SD effects, keyers, transitions
and titles.
EDIUS Neo XL
◆ Realtime, render-free DV output directly
For those who need analog I/O support, the EDIUS Neo XL
package includes the Neo software and a ACEDVio board.
Featuring an OHCI-based design, and legendary ADVC
analog/DV conversion technology, the ACEDVio board is
equipped with high-quality analog and digital inputs/outputs for DV, composite, S-Video and unbalanced audio. It
allows you to connect to DV, HDV and AVCHD camcorders.
from the timeline.
◆ Nested timeline sequences.
◆ High-speed HDV timeline export, built for
Dual Core CPU technology.
◆ Segment encoding (smart rendering) export
for MPEG and HDV.
◆ Direct-to-DVD timeline export with menus.
◆ Quick Titler software, for realtime titling
including rolls and crawls.
Because the ACEDVio board doesn’t require any additional
software or hardware drivers, installation is a breeze. As an extra bonus, its platform-free design also makes it possible for you to use the hardware with any other separate program that
features IEEE 1394 FireWire support, in addition to working hand-in-hand with EDIUS Neo.
◆ Requires no special hardware to work—it
can run on a laptop as well as a workstation
system, and can input/output video from
any OHCI FireWire-compatible hardware.
EDIUS Neo: Editing software for Windows (Mfr # 606249 • B&H # GREDIUSNE)..........................................239.95
EDIUS Neo XL: Neo Software and Capture Card (Mfr # 636246 • B&H # GRENXL) ....................................449.95
www.bhphotovideo.com
COMPUTER VIDEO
G R A S S VA L L EY
1117
EDIUS PRO • EDIUS BROADCAST
Editing Software for DV, HDV and HD
Whether you are working with standard definition or high definition video, EDIUS Pro frees
you from the limitations of conventional editing systems. Providing a seamless realtime
workflow supporting all video acquisition formats, including all DV and HDV cameras and
decks, EDIUS Pro features realtime, multi-track, mixed format HD/SD editing (HD, HDV, DV,
MPEG-2, lossless and uncompressed SD video), compositing, chroma keying, titling and
timeline output capabilities. EDIUS Pro can edit DV content in HD resolutions, providing
automatic, realtime upscale conversion from SD to HD video, and all project titles, graphics
and effects are applied in HD resolution. Ensuring a painless
transition to the world of HD, editors can edit and output HDV content to hard disks or
DVD-R drives without requiring an HDV camera or deck. A highly flexible craft editing
solution that delivers maximum productivity to video professionals, EDIUS Pro offers
advanced features such as multicam support, nested sequence editing, improved trimming
tools, alpha-channel support in the HQ codec, and keyframe support for color correction.
Otherwise the same, EDIUS Broadcast provides support for higher-end video equipment
and formats such as Panasonic DVCPRO 50, DVCPRO HD, DVCPRO P2, AVC-Intra*, VariCam,
and Sony XDCAM. (EDIUS Pro is upgradeable to EDIUS Broadcast).
F EATURES
Edit Mixed Formats in Realtime
Multi-Format Support
Seamlessly edit, in realtime, any mix of HD, HDV, DV, uncompressed SD
and MPEG-2 video, maintaining the full native format, resolution and
color space quality of all video clips. The EDIUS engine is resolution and
frame-rate independent, ensuring support of future video codecs and
formats. Whether its native 720/24p HDV, 1080/30p, QuickTime H.264, or
standard definition NTSC/PAL DV or AVI footage, productivity gains from
realtime mixed format editing are immense as there is no time-consuming format pre-conversion or preparation required prior to editing.
EDIUS Pro provides capture, edit, and export support for Sony 1080/24p,
1080/25p, and 1080/30p and JVC 720/60p and 720/50p HDV formats.
EDIUS Broadcast adds support for higher end Panasonic DVCPRO and
Sony XDCAM formats. Both programs can also import AVCHD MPEG-4
material, which you can either edit natively or convert to HQ format for
increased realtime productivity. Import and export Advanced Authoring
Format (AAF) files from Pro Tools and After Effects, and various forms of
Edit Decision List (EDL) files from other packages. Seamlessly edit and
combine native Windows Media footage, including WMVHD, with any
other supported format, without rendering or pre-processing footage.
They provide support for Windows Media and include EDIUS Speed
Encoder for HDV for fast HDV video output. The parameter-based
keyframe support for frame-by-frame color correction gives users the
tools to quickly enhance the quality of their video productions.
Nested Timeline Sequences
Nested Sequences expands exponentially the realtime editing power
and exceptional responsiveness of EDIUS Pro. Create projects within
projects, complete with all of the realtime effects, keyers, transitions and
titling features already available in EDIUS Pro. Combine your sequences
together for the final edit. Sequences can be handled like standard clips
on the timeline, allowing you to apply any number of filters and effects.
Support for nested timeline editing lets users work on sections of a
production as separate timelines and nest them into a master project for
simplified editing, task separation and organization. Nested Sequences
combined with EDIUS Pro’s realtime multi-format, multi-frame rate
editing capabilities gives you limitless editing potential.
Multicam Editing Mode
Multicam feature supports up to eight
cameras and provides realtime monitor
preview, as well as a master channel
preview that displays all eight camera
angles. Users have the feel of a live
switcher, but with the flexibility of a
nonlinear editing environment. Edit a
sequence using up to eight different
sources and view them simultaneously.
Switching between cameras is as easy as
pressing the number keys on your keyboard. When editing is finished,
keep all the footage on the timeline with original tracks intact, including
the unused sections, or automatically condense the timeline into a
single track, retaining only the trimmed clips.
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1118
COMPUTER VIDEO
GR A S S VA L L E Y
EDIUS PRO • EDIUS BROADCAST
User Interface
Realtime Effects and Titles in HD and SD
EDIUS Pro or EDIUS Broadcast empower editors with an array of realtime
filters, keyers and transitions to refine and enhance video projects, without the need for rendering. Realtime effects, filters and keyers within
EDIUS Pro can be stacked and used in any combination to provide unrestricted creativity. Video and audio effects may be customized and saved
as presets for use in future projects. They features 28 different realtime
video filters to style, enhance or correct any video project. Each filter offers simple yet powerful adjustment controls to further refine an effect.
◆ Includes realtime keying effects, such as Chromakey for compositing.
◆ Interface features advanced bin window media management with
“watch” folder clip import, media searching tools, productive yet
simple mouse gestures for clip trimming, scrubbing and playback, and
a realtime Vectorscope and Waveform monitor for detailed analysis of
footage while capturing and editing.
◆ Customize the appearance and functions of the user interface.
Features include a floating window design with adjustable preset
positions, options to add and remove function buttons within each
window, and a keyboard shortcut mapping utility that allows users to
change virtually any keyboard commands to suit their workflow.
◆ Features the traditional “File, Edit, View...” menu system. However, you
can reposition the various application panels easier than ever.
◆ Can display all video and audio effects as visually recognizable icons;
effectively making them behave in much the same way as would any
media clip within the Bin.
◆ Change the color of the interface, zoom into the Waveform and
Vectorscope displays and add 4:3 or 14:9 safe area markers when
editing 16:9 projects.
◆ User Profiles can be created and imported at any time, and you can
export and import customized project settings). This allows you to take
customized interface and application settings with you when jumping
from EDIUS system to EDIUS system. Save out and import:
• Window layouts
• Application settings, including timeline and render settings
• Customizable settings, such as GUI buttons and keyboard shortcuts
• Plug-in settings
◆ Time Remap feature lets you set multiple, keyframed speed adjustments
to a clip, without affecting its duration on the timeline. Via Time
Remap, speed up and then slow down a clip’s playback, and then
speed it up again—all in realtime, with perfectly smooth results.
◆ Timeline trimming
functions can be
performed within a
specialized view in the
Monitor window. With
a refined set of keyboard
shortcuts and GUI buttons,
you can easily perform
ripple, slip, slide, and
rolling edits with precision.
www.bhphotovideo.com
With realtime, multi-track editing power and intelligent keying
controls, any sequences that feature Chromakey, Lumakey or Picturein-Picture effects, can be previewed and output instantly. They provide
16 layer blending keyers for high-quality compositing of video layers,
based on different image properties. Blend keyers include Color Burn,
Difference, Exclusion and Soft Light.
◆ They include Xplode for EDIUS and EDIUS FX, advanced 2D and 3D
video effect engines. These transition effects incorporate proprietary
Canopus Effects Technology and provide the power to create stunning
and professional quality video transitions. With over 40 transition
groups to choose from, each with customizable options, controls and
numerous presets, Xplode for EDIUS and EDIUS FX provide sophisticated
power for the demanding video editor.
◆ Bundled Quick Titler is a basic character generator and titling program
that allows editors to quickly create titles in HD or SD resolution.
Features preset text styles and artwork objects for fast title creation,
in addition to providing the tools and options for creating customized
titles and objects, all of which can be aligned and positioned with
absolute precision. Quick Titler also supports text file importing and
titles can be set with either a static, roll or crawl animation preset,
resulting in effortless creation of project credits.
◆ Include Inscriber TitleMotion Pro for EDIUS, a specially-optimized,
full version of the popular broadcast titling package, which provides
editors with tools to create high-quality titles with realtime preview
and playback during composition in either SD or HD. Featuring
keyframed animation capabilities within both 2D and 3D spaces,
TitleMotion Pro can produce polished, broadcast titles within minutes.
TitleMotion Pro titles can be created and stored within the Bin window,
or created directly from the editing timeline.
◆ In addition to the included audio filters, they can use third-party audio
effects that make use of the Virtual Studio Technology (VST) interface
standard. This allows any number of additional realtime audio effects to
plug into EDIUS Pro/Broadcast for more sophisticated audio editing.
◆ The HQ codec has been enhanced, upporting alpha channel
information within the video data. This means that you can avoid using
storage-consuming formats such as uncompressed HD or still image
sequences when compositing and layering video.
◆ All color correction filters feature keyframe controls for every property
within each filter. In addition, genuine keyframe curve manipulation
has been added to provide the highest level of precision.
◆ Alpha Channel support means that you can avoid using storage-
consuming formats such as uncompressed HD or still image sequences
when compositing and layering video.
COMPUTER VIDEO
G R A S S VA L L EY
1119
EDIUS PRO • EDIUS BROADCAST
Additional Features
Audio
◆ Segment Encoding (‘Smart Rendering’) supports standard definition (480i, 576i) and 1080i
◆ If you need to work with individual audio
channels, whether two, four or eight, EDIUS
Pro can automatically map individual
channels to appropriate audio tracks within
the timeline, complete with a separate
waveform display for each channel.
◆ Panning controls have also been enhanced,
with logical left and right panning defaults.
◆ AC-3 audio decoding and encoding enables
clips that feature Dolby Digital audio to be
imported to the timeline. This is a particularly
useful feature for importing DVD-based
material, and for exporting DVD-compatible
streams with smaller audio file sizes.
◆ Using the PCM WAVE exporter option creates
files with BWF TimeReference metadata,
compatible with any third-party applications
that support BWF audio files.
Output
◆ Upon completion of a project,
export to all
widely used file formats and mediums, such
as MPEG-2, DV, and HDV. To assist in choosing
the right options for your delivery format,
you can also export your timeline with
ProCoder Express for EDIUS. Built with the
same high-speed, high-quality encoding and
media technology found in Grass Valley
ProCoder 3, ProCoder Express features an
easy-to-use Wizard interface, guiding you
every step of the way to export to QuickTime, Real Video, Windows Media, and more.
◆ Use the Batch Export feature to not only
queue up export jobs for multiple sequences
within your project, but you can also assign
multiple target formats for your project.
Once set, you can leave EDIUS to encode
away, one file at a time.
◆ Bundled
DVD Creator is a basic DVD
authoring package for quickly putting
together simple DVD titles with static menus
based off the artwork included in the style
gallery. DVD Creator can either use the
material on the current EDIUS Pro timeline,
or import a pre-encoded MPEG-2 stream.
◆ Create DVD titles with simple menus and
chapter navigation, using built-in menu
button and background artwork. The ‘Print
to DVD’ function offers a choice of constant
or variable bitrate video encoding, and
Dolby Digital AC-3, PCM Wave or MPEG
Layer II audio encoding.
MPEG-2 content. Reduces the time taken to export projects to the same format and bitrate, by
simply encoding the edited and modified sections of any source MPEG-2 clips that match the
target MPEG-2 format (e.g. frame rate, resolution, bitrate).
◆ EDIUS Speed Encoder for HDV boosts the speed of HDV MPEG-2 export, by not only taking
advantage of dual CPU system configurations, but also of the Dual Core processor technology
featured with Intel and AMD CPUs. This optimization dramatically reduces the time needed to
encode native HDV MPEG-2 transport streams from the EDIUS Pro timeline.
◆ Exporting your finished projects gets a boost with EDIUS Pro or Broadcast. You can now use the
Batch Export feature to not only queue up export jobs for multiple sequences within your
project, but you can also assign multiple target formats for your project. Once set, you can leave
EDIUS to encode away, one file at a time.
◆ Create your own custom export targets based off the inbuilt exporters included with EDIUS. This
means that you can have an exporter specifically create for a certain type of medium you want
to deliver your work out on, and reuse that specialized exporter again in the future.
EDIUS Pro Video Editing Software (Mfr # 606256 • B&H # GREDIUSP4) ...........................................................599.95
NX Express (PCIe) Baseboard with EDIUS Pro Software: Provides DV and HDV I/O, composite
and S-Video I/O and unbalanced audio I/O. Hardware-based video overlay design for accelerated
HD/SD editing. Also features analog input signal cleaning and enhancement.
(Mfr # 690194 • B&H # GREDIUSNXP45).................................................................................................................................Call
NX Express (PCIe) Baseboard with HD/SD Component Output and EDIUS Pro Software:
Same as above, plus a daughter card with component output (BNCx 3), as well as accelerated
standard definition MPEG-2 and MPEG-4 encoding. (Mfr # 640205 • B&H # GREDIUSNEE) ....................1249.95
EDIUS NX Express 5.25˝ Bay: Sleek, black, 5.25-inch breakout panel provides front-mounted
connectors for 4-pin FireWire, composite, S-Video and unbalanced stereo RCA audio. Includes all
cables for connecting the bay to the EDIUS NX Express board. (Mfr # 630060 • B&H # GREDIUSNB) ....149.95
EDIUS Broadcast Video Editing Software (Mfr # 616255 • B&H # GREDIUS4B) .............................................899.95
EDIUS SP Baseboard with HD/SD Component Output Module: Provides DV and HDV I/O,
composite, S-Video and component I/O, reference input, unbalanced audio and XLR-balanced
audio input/output. Also has RS-422 (9-pin) deck control Hardware-based video overlay design for
accelerated HD/SD editing. Also features analog input signal cleaning and enhancement. Includes
Multi-I/O cable connector. (Mfr # 650198 • B&H # GREDIUSBE).........................................................................1699.95
EDIUS SP Breakout Box: With a solid, 1U 19” rackmount design, the EDIUS SP Breakout Box option
is a tidy and convenient solution for connecting the many different analog and digital video
devices that EDIUS SP supports.
Connected via the included D-Sub data cable, the breakout box features the same connectors as
the multi-I/O connector cable shipped with EDIUS SP including FireWire, SD component input,
HD/SD component output, balanced and unbalanced audio, S-Video and composite. Does not
include the Multi-I/O cable connector. (Mfr # 630039 • B&H # GREDIUSBB) ...................................................549.95
EDIUS SP Baseboard with HD/SD Component Output Module and EDIUS SP Breakout Box
(Mfr # 660197 • B&H # GREDIUSPBOB) .........................................................................................................................2049.95
Class on Demand: Complete Training for Edius 4.5
Comprehensive training program for Edius Pro/Broadcast presented on a DVD-ROM. The training is
hosted by Mike Downey, who has more than a decade of experience using the EDIUS NLE system.
(Mfr # 98090 • B&H # CLTENX).........................................................................................................................................124.95
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1120
COMPUTER VIDEO
I NTE L
CORE 2 QUAD
Next-Generation Processor
The Intel Core 2 Quad processor is the latest in cuttinge-edge processor
technology for the desktop PC. Based on Intel Core microarchitecture, the
Intel Core 2 Quad processor delivers four complete execution cores within
a single processor, delivering unprecedented performance and responsiveness
in multi-threaded and multi-tasking applications. More instructions can be
carried out per clock cycle, shorter and wider pipelines execute commands
more quickly, and improved bus lanes move data throughout the system
faster. This quad-core processor represents Intel’s continued leadership and
drive of multi-core processing and more parallel computing.
Built on Intel’s 45nm manufacturing technology, the processor uses hafniuminfused Hi-k transistors, enabling even more processor performance by doubling the transistor density, improving
efficiency and speed relative to the previous generation, and increasing cache size by up to 50 percent.
The Intel Core 2 Quad processor is at the center of today’s most interactive and content-rich software experiences. Whether
it's encoding, rendering, editing, or streaming, make the most of your professional-grade multimedia applications with a
PC powered by the Intel Core 2 Quad processor. With four processing cores and up to 12MB of shared L2 cache and up to
1333 MHz Front Side Bus, it brings a multimedia powerhouse to your house.
F EATURES
◆ Quad-Core processor provides four complete execution cores in a
single processor with up to 12 MB of L2 cache and up to a 1333 MHz
Front Side Bus. Four dedicated, physical threads help operating systems
and applications deliver additional performance, so users experience
better multi-tasking and multi-threaded performance across many
types of applications and work loads. Each of the four execution cores
can complete up to four full instructions simultaneously.
◆ Smart Memory Access optimizes the use of the data bandwidth from
the memory subsystem to accelerate out-of-order execution. A newly
designed prediction mechanism reduces the time in-flight instructions
have to wait for data. Pre-fetch algorithms move data from system
memory into fast L2 cache in advance of execution. These functions
keep the pipeline full, improving throughput and performance.
◆ Intel® Advanced Digital Media Boost accelerates the execution of
Streaming SIMD Extension (SSE) instructions to significantly improve
the Media Boost performance on a broad range of applications,
including video, audio, and image processing, and multimedia,
encryption, engineering, and scientific applications. SSE4-optimized
applications, such as video editing and encoding in high-definition
resolution, will see additional performance improvements.
Quad-Core Intel Xeon Processor 5300 Series
Maximize performance/density and performance/watt with the the
highest performance available for 2-way servers running high
performing infrastructure applications.
www.bhphotovideo.com
◆ Intel 64 Architecture alows the processor to access larger amounts of
memory. With appropriate 64-bit hardware and software, platforms
based on an Intel processor supporting Intel 64 architecture can allow
the use of extended virtual and physical memory.
◆ Advanced Smart Cache provides shared level 2 cache across each pair
of cores that can be dynamically allocated to each processor core,
within the pair, based on workload. This efficient implementation increases the probability that each core within the pair can access data
from fast L2 cache, significantly reducing latency to frequently used
data and improving performance.
◆ Execute Disable Bit provides extended virus defense when deployed
with a supported operating system. Memory can be marked as executable or non-executable, allowing the processor to raise an error to
the operating system if malicious code attempts to run in non-executable
memory. This can prevent the code from infecting the system.
◆ Digital Thermal Sensor (DTS) provides more efficient processor and
platform thermal control improving system acoustics. The DTS continuously measures the temperature at each processing core. The ability to
continuously measure and detect variations in processor temperature
enables system fans to spin only as fast as needed to cool the system.
Quad-Core Intel Xeon Processor 7300 Series
Maximize performance, scalability and reliability available for datademanding applications while offering the headroom and peak-load
responsiveness for large virtualization and server consolidation.
1122
COMPUTER VIDEO
J L CO O P E R
CS-3000 SERIES
Media Command Stations
MCS-3800W
MCS-3000 Series products are the pinnacle of JL Cooper’s control station
product line. The MCS-3800 and other Media Command Stations are in
daily use with systems from Apple, AVID, BitCentral, Doremi Labs,
Digidesign, DVS, Enco, Grass Valley, Leitch, IBIS, IFX, Harris, Inscriber,
IRIDAS, MOTU, Merging Technologies, Panasonic, Roland, Steinberg, Yamaha
and many others. Media Command Stations provide tactile control of popular
computer-based workstations for audio/video production, post production, color
correction, broadcast automation and other applications. Edit and refine your work to
perfection, using tactile controllers from the A/V industry’s most widely used control surface technology.
F EATURES
◆ MCS-3000 stations are designed with a
modular approach. This lets you customize
the control surface for your specific needs.
No other control product offers the
advanced flexibility and proven reliability.
◆ Add tactile controls to digital audio and
video workstations. The stations feature
touch-sensitive motorized faders, programmable function keys, innovative, dynamically-relegendable LCD keys, back lit LCD
displays, VF displays, rotary encoders,
professional transport controls and full size
numeric keypads.
◆ They advance the state of modular, control
for non-linear audio and video editing
systems. They expand to offer as many as 64
moving faders. Models include JLCooper’s
custom, optically-encoded, concentric jog
wheel with shuttle ring. The SP jog/shuttle
mechanism on the MCS-Transport SP) offers
a more traditional feel for video applications.
◆ Interfacing options including Ethernet, USB,
RS-422, Quad RS-422, RS-232, MIDI and GPI.
◆ Stations are solid, professionally crafted
controllers beautifully sculpted with an
optional simulated stone (granite) trim and
wrist rest (‘W’ models include contoured
simulated granite wrist rest).
◆ Provide access to on–screen mixing and DSP
functions.
◆ Software lets you add additional controls to
most applications.
◆ Low profile and compact design with heavy
duty construction.
MCS-3800
The MCS-3800 is an eight fader main console with a full complement of necessary controls. It
features touch–sensitive motorized faders, 60 function keys, full-size numeric keypad, professional
transport controls, LCD and LED displays. Includes built in MIDI I/O and two card slots for optional
interface cards. It serves as a hub for an expanded system with a wide variety of optional
accessories. Customize by adding MCS-3000x, MCS-Panner and MCS-Bridge and other options.
MCS-3800 Media Command Station (Mfr # MCS-3800 • B&H # JLMCS3800) .............................................3093.50
MCS-3800W Media Command Station with Wrist Rest (Mfr # MCS-3800W • B&H # JLMCS3800W) ....3655.95
MCS-3400
The MCS-3400 is a smaller main console for applications where space is at a premium or fewer
than eight faders are required. It features four touch–sensitive, motorized faders and it’s smaller
size makes it the ideal addition to personal editing suites. Includes built in MIDI I/O and two card
slots for optional interface cards. It may be fully expanded with a variety of options and it can be
used with a many computer-based editing systems. It is otherwise identical to the MCS-3800.
MCS-3400 Media Command Station (Mfr # MCS-3400 • B&H # JLMCS3400) .............................................2624.95
MCS-3400W Media Command Station with Wrist Rest (Mfr # MCS-3400W • B&H # JLMCS3400W) ....3093.50
MCS-3000
The MCS-3000 is a smaller main console for applications where space is at a premium or no
faders are required. It is a low profile, compact design, with professional controls and quality
construction. Supports the MCS-3000x and MCS-3000XL 8 channel fader expanders and other
expansion options. Has built in MIDI I/O and two card slots for optional interface cards.
MCS-3000 Media Command Station (Mfr # MCS-3000 • B&H # JLMCS3000) .............................................2058.95
MCS-3000W Media Command Station with Wrist Rest (Mfr # MCS-3000W • B&H # JLMCS3000W) ....2624.95
Expansion Options for the MCS-3800, MCS-3400 and MCS-3000
MCS-3000X: 8-channel fader expander (Mfr # MCS-3000X • B&H # JLMCS3000X) ....................................1964.95
MCS-3000 XL: Same as above, plus the potential to display channel labels, color coded track
arming status and other mission critical information (Mfr # MCS3000XL • B&H # JLMCS3000XL) .........2799.95
MCS Panner: Three Axis Joystick Controller (Mfr # MCS-PANNER • B&H # JLMCSP)..................................1218.50
◆ Combine units to form a custom configura-
MCS Bridge: Channel Display and Pan Option (Mfr # MCS-BRIDGE • B&H # JLMCSBRIDGE) ......................937.50
tion for specific requirements and budget.
MCS Wiper: Transition Controller (Mfr # MCS-WIPER • B&H # JLMCSW) ..........................................................937.50
www.bhphotovideo.com
COMPUTER VIDEO
J L CO O P E R
1123
MCS3– MEDIA CONTROL STATION3ABC
Professional Remote Control for
VCRs, MIDI, Audio, Video and Multimedia Software
Media Control Station3 features professional transport buttons for Record, Play, Stop, FF and
REW. It has 18 physical buttons for a variety of editing functions and the V/Stick Navigation
Control. A precision, optically encoded jog wheel with a concentric shuttle ring lets you
control audio or video effortlessly and with frame accuracy. Available in a number of
different versions, MCS3 features a balanced, optical jog wheel with shuttle ring and
RTZ and shuttle back at play speed. It provides remote transport control, permits
remote track arming, and is made of durable all metal construction.
JLCooper controllers let you work faster. They provide the ease–of–use and
tactile elegance that’s missing from “software only” user interfaces.
Professionals can depend on JLCooper control products to provide reliable service that far
outlasts plastic alternatives.
MCS3 RS-422
MCS3 USB
Controls all Mac and Windows Applications
3
Working with virtually any software program, Media Control Station USB
version features professional transport buttons, a precision optically
encoded jog wheel with a concentric shuttle ring and 18 function keys.
Supports Mac OS9 & OSX, Windows 98, 2000, Me, XP and Vista. Lets you
use and customize supplied keysets for advanced control of applications
including Final Cut Pro, iMovie, Premiere Pro, Pro Tools, Nuendo, DP5,
Vegas Video, Virtual VTR and others.
(Mfr # MCS3-USB • B&H # JLMCS3USB) ........................................................................524.95
MCS3 RS-232
Controls Windows Applications
Media Control Station3 RS-232 features professional transport buttons, a
precision optically encoded jog wheel with a concentric shuttle ring and
18 function keys. Supplied software is compatible with Windows 98,
2000, NT, Me, XP and Vista, and can be used with any editing software
program. MCS3 works with Premiere Pro, Cakewalk Pro, MPEG Edit Studio
and other systems.
(Mfr # MCS3-RS-232 • B&H # JLMCS3RS232) ................................................................524.95
With JLCooper Jog/Shuttle Mechanism
Media Control Station39-Pin version features professional transport
buttons, a precision optically encoded jog wheel with a concentric
shuttle ring and 18 function keys. It’s a 9-Pin/P2 compatible universal
VTRor DDR jog/shuttle remote with Sony BVU 800/900 emulation.
It couples to MCS-Locator to as a full function controller, capable of
controlling up to 4 professional video decks.
(Mfr # MCS3-9PIN • B&H # JLMCS3RS422) ....................................................................524.95
MCS3 SP RS-422
With VTR Style Jog/Shuttle Mechanism
Features the familiar push-push jog/shuttle controller. Push wheel once
for Jog mode. Push wheel again for shuttle mode. In shuttle mode, it
features a detent “click” when stopped. Controls AVID Symphony Nitris,
Grass Valley Edius, professional P2 compatible VTRs and hard-disk based
VTR emulators. Couples to MCS-Locator as a full function controller,
capable of controlling up to 4 professional VTR’s.
(Mfr # MCS3-SP-RS422 • B&H # JLMCS3SP422) ............................................................776.50
MCS3 SP USB
MCS3 MIDI/MMC
With VTR Style Jog/Shuttle Mechanism
Controls Audio Hard Disk Recorders
Media Control Station3 SP USB features professional transport buttons, a
VTR Style Jog/Shuttle Mechanism and 18 function keys. MCS3 SP USB is
the first Mac compatible USB controller with VTR style Jog/Shuttle and
the best way for classic video editors to work with a familiar jog wheel on
the Mac. Supplied software lets you use and customize keysets for
advanced control of Quicktime compatible applications including Final
Cut Pro, Pro Tools, DP5, Virtual VTR and others.
(Mfr # MCS3-SP-USB • B&H # JLMCS3SPUSB) ...............................................................743.50
Media Control Station3 MIDI/MMC version sends MIDI Machine Control
messages for controlling compatible hard disk recorders and computer
based editing systems. Use it with recorders from Alesis, Akai, Mackie,
Roland, Tascam and others. It can be coupled with FaderMaster Pro, FM
4/100 or MCS-ProTracker to form a compact custom console.
(Mfr # MCS3-MIDI • B&H # JLMCS3M) ..........................................................................524.95
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1124
COMPUTER VIDEO
MAT ROX
RT.X2
Professional Realtime HD
Editing for Adobe CS3
Ideal for corporate communicators, event videographers, project
studios, educational facilities and digital filmmakers, the RT.X2LE
allows users to get maximum productivity from Adobe Premiere Pro
CS3 and CS3 Production Premium. The RT.X2 LE is a ¾-length PCIe
card with a professional breakout box, that lets you edit HDV or P2
MXF 720p and output HD. Plus, you can capture other HD and SD
formats over the analog inputs, and mix all types of footage on an
HD or SD timeline in real time.
RT.X2 LE goes far beyond the capabilities of systems that combine
Premiere Pro CS3 and a simple I/O card. The RT.X2 hardware provides
accelerated editing of full-quality, full-frame-rate video, export to DVD, Blu-ray, QuickTime, Adobe Flash and other formats, and extra
productivity with WYSIWYG graphics and realtime downscaling of HD projects for SD delivery.
Otherwise the same, the full-version RT.X2 provides full-resolution HD monitoring on an inexpensive flat panel display via its
independent DVI output. In fact, the RT.X2 provides better HD video definition, with pixel-to-pixel mapping on a flat panel (1920 x1200),
than you will get on expensive professional HD monitors which re typically limited to approximately 800 lines of resolution. And for
those working exclusively in SD (Standard Definition), the RT.X2 SD is available.
F EATURES
Realtime Multi-Layer HD/SD Workflows
Realtime Native HDV Editing Workflow
◆ Designed primarily for realtime native HDV, DV, and Panasonic P2 720p
Transfer native HDV footage over IEEE1394 to your RT.X2/LE system.
Native HDV material can be mixed in real time on your HD timeline with
MPEG-2 I-frame clips. You can also place SD clips on your HD timeline
and RT.X2 will upscale them in real time so you can mix NTSC material
into a 1080i at 29.97 fps timeline.You can also mix 576p or 486p material
into a 1080p timeline. When your edits are complete, you can record
your project directly to tape using RT.X2/LE’s analog component HD
output or or export to HDV for playout over IEEE1394.
and SD editing, the RT.X2/LE also provides a high-quality MPEG-2 4:2:2
I-frame codec so you can capture other HD and SD formats over the
analog inputs, and mix all footage on an HD or SD timeline in real time.
◆ Extensive support for a wide range of analog, DV, HDV, and P2 cameras
including: JVC GY-HD110, GY-HD200 and GY-HD250, Sony HVR-A1,
HVR-Z1, HVR-V1, PDW-F330, Panasonic HVX-200, HDX-900, HD-C27H,
HPX2000, Canon XH-A1, XH-G1, XL-H1.
Highest Quality Realtime Effects
Provides performance- and quality-optimized effects processing. Built
on Matrox Power of X and Flex technologies, the RT.X2/LE leverages CPU
and GPU power to provide a tightly integrated, high performance editing
environment for Adobe Premiere Pro. RT.X2/LE’s broadcast quality
effects are fully keyframeable and feature a high level of control for
detailed work. Each effect has a series of parameters that can be fine
tuned to get just the look you want. To save time you can use the
preconfigured effects presets or create and save your own presets.
Most Realtime Video/Graphics Layers
RT.X2/LE doesn’t compromise quality or effects refinement to increase
the number of layers—it always deliver maximum realtime quality. Timelines with more layers and/or effects than can be processed in realtime
can benefit from hardware-accelerated previews. The RT.X2 always play
back the timeline at the best possible quality and if necessary, gracefully
reduce the frame rate. You get in-context feedback as you work.
www.bhphotovideo.com
Realtime Editing of Panasonic P2 MXF 720p Files
◆ Provides native editing of Panasonic P2 MXF 720p files at 23.98, 25,
29.97, 50, and 60 fps and SD files at 23.98p, 25i and 25p, 29.97i and
29.97p fps in Premiere Pro and After Effects. In addition, the bundled
Matrox EZ-MXF utility lets you use your native MXF files in animation,
compositing, and motion graphics applications that support Video for
Windows AVI files. RT.X2/LE also supports the use of the Focus
Enhancements FireStore drives allowing you to simply transfer P2 and
HDV files to your RT.X2/LE system and edit them in real time. RT.X2/LE
supports Panasonic VariCam 24p and 25p workflows with the HVX-200
camera via MXF file transfers.
◆ RT.X2/LE extends Windows Explorer functionality to simplify AVI and
MXF file management. Important details such as User Clip Name,
Start Timecode, End Timecode, Duration, etc. are available in the
Windows Explorer Details View. A clip icon can also be displayed in
the Thumbnails View to let you more easily identify your clips.
COMPUTER VIDEO
M AT ROX
1125
RT.X2
◆ Downscale HD projects to broadcast-quality
NTSC and PAL with proper conversion of the
HD color space to the SD color space. You
can print your HD edit to analog SD tape in
real time and or use this feature to preview
HD projects on inexpensive SD monitors.
◆ Capture in HD, then edit in SD for maximum
realtime performance. You maintain the
quality of the original footage, yet benefit
from maximum realtime performance during
editing, similar to what you will experience
when editing in native DV. When your edits
are complete, you can output straight to SD.
When you view the SD master you will see
very littel difference in quality compared to
a project that is edited in native HDV then
downscaled to SD. If you need an HD master,
you can open the same SD project in an HD
timeline. No recapturing is necessary.
◆ All RT.X2 cards provide amazing realtime
editing performance in DV. On a reasonably
performing system, you can expect to edit at
least five native DV video layers plus six
graphics layers and effects in real time. Other
SD clips captured from analog SD sources
with the same resolution and frame rate can
be mixed on your SD timeline in real time.
◆ When the need arises, HDV clips can also be
RealtimeFlex CPU and GPU Effects
The RT.X2 platforms rely on the power of your CPU to perform a variety of realtime and accelerated
effects. They are also available in Adobe After Effects. Using the power of your system GPU, you
can create a wide variety broadcast-quality 2D and 3D digital video effects.
RT.X2 provides one of the finest realtime
chroma keyers in the industry. Clean
blue- and green-screen keys are easy to
achieve, even with DV and HDV material
shot in less than optimal lighting conditions.
Your video is upsampled to 4:4:4:4 resolution
and advanced noise reduction algorithms
are used to ensure superior results. The auto key button intelligently adjusts the key with soft
edges, spill removal, and shadow preservation. Further refine the key with manual controls.
◆ Page curls are true 3D with full-motion video
on the reverse side and realistic highlights.
Page curls on graphics let you create great
looking text effects. You control the position,
rotation, scaling, and zooming of page curls
in 3D space. You also have control over the
softness of the edges.
◆ RGB curves control offers a fast, natural way
to fine-tune the colors in your video. If, for
example, you want to remove a blue tint
from your video, you simply drag the blue
curve down. With RGB curves you can also
achieve wild color effects and other looks
that are otherwise impossible.
placed on your SD timeline. The RT.X2 cards
will downscale them so you can mix 1080i at
29.97 fps material into an NTSC timeline or
1080i at 25 fps material into a PAL timeline
in real time. With Matrox RT.X2 and RT.X2 LE,
you can also mix MPEG-2 I-frame HD
material on an SD timeline in real time.
◆ WYSIWYG video output plug-in for After Ef-
fects and Photoshop lets you see your work
directly on your video monitor. The Adobe
Dynamic Link feature is also supported.
◆ VU meters let you see if your audio input is
active and also let you monitor and adjust
audio levels in order to obtain the optimal
signal-to-noise ratio and dynamic range.
◆ You get instant output of video files such as
MPEG, DivX, and AVI on your broadcast
monitor using Adobe Bridge, Windows
Media Player or other DirectShow-based applications. Use to show different versions of
your work to clients on a broadcast monitor
without having to open Adobe Premiere Pro.
amp control; three-way color correction
complete with master, shadows, midtones
and highlights control; input/output level
control; and RGB curves control.
◆ Easily adjust four proc amp controls - hue,
saturation, brightness, and contrast. . You
can also use these controls to create special
effects, such as black and white, in real time.
◆ Colors can be corrected using 9 parameters
related to the black (shadow), midtone, and
white (highlight) levels of a clips. Easily
match colors or balance blacks, whites, and
grays against a reference shot in one step.
Realtime track matte effect lets you superimpose
one clip onto another using an animated matte
(traveling matte), to determine how the two
clips are composited (keyed). You can use a
grayscale video or graphics clip as your matte, or
use a graphics clip or graphics sequence with an
alpha channel as your matte.
◆ The voiceover feature of Premiere Pro is
supported to let you record audio directly in
the timeline. Also supports Premiere Pro’s
multi-channel 5.1 surround sound mixing.
◆ Primary color corrector provides basic proc
◆ Position your clips anywhere in 3D space
while adding soft edges and rounded
borders with color gradients in real time.
◆ Simulate camera defocus and create unique
effects in real time with Blur/glow/soft focus.
◆ The surface finish effect gives metal, brick,
wood, or granite textures to your video clips
and titles with color spot lighting.
◆ Realtime pan and scan filter lets you convert
footage from any aspect ratio to any other.
◆ Page curls are true 3D with full-motion video
on the reverse side and realistic highlights.
Page curls on graphics let you create great
looking text effects. Control position, rotation,
scaling, and zooming of page curls in 3D
space. Control the softness of the edges.
◆ Mask effect lets you choose from dozens of
◆ Realtime mask blur effect lets you create a
soft-edged cutout shapes for your video
clips. You can also create your own masks.
“region of interest” by adding a mask and
applying blurring to it.
RT.X2 SD Capture Card (Mfr # RTX2SDNAC • B&H # MARTX2SD) ........................................................................795.00
RT.X2 LE Capture Card (Mfr # RTX2LE/NAC • B&H # MARTX2LE) .........................................................................995.00
RT.X2 Capture Card (Mfr # RTX2NAC • B&H # MARTX2Q).........................................................................................CALL
RT. X2 SD, RT.X2LE, RT.X2 bundled with Adobe Premiere Pro CS3..................................................CALL
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1126
COMPUTER VIDEO
MAT ROX
AXIO LE
Realtime Engine for HD Editing for Broadcast and Post
Axio LE makes Adobe Premiere Pro CS3 and CS3 Production Premium the foremost
realtime HD and SD editor for demanding broadcast and post-production
environments. It features no-render HD and SD finishing in
compressed and uncompressed formats, superior realtime
color correction tools, advanced realtime effects, and a full
complement of analog and digital audio and video inputs
and outputs. It also lets users work seamlessly with the
other Adobe Production Studio applications, fully supporting
Adobe Dynamic Link and providing WYSIWYG video output
support for After Effects and Photoshop, as well as other
industry-leading animation and compositing packages.
Stepping up from RT.X2 platform, the Axio LE features simultaneous HD and SD
output, SD/HD-SDI input/output, analog component input/output, SD genlock and Tri-level HD genlock. It also supports
full 1080i resolution at 25, 29.97 and 1080p at 23.98, 24 and 25, and offers Closed Captioning (CC) support.
AXIO LE
RT.X2
RT.X2 LE
RT.X2SD
HDV 1080i / HDV 1080p / HDV 720p
✓/✓/✓
✓/✓/✓
✓/✓/✓
capture only / capture only / —
DVCPRO HD / DV, DVCPRO, DVCAM / DVCPRO50
✓/✓/✓
—/✓/—
—/✓/—
—/✓/—
✓
720p/SD only
720p/SD only
—
✓/✓
—/—
—/—
—/—
P2 MXF – DVCPRO50, DVCPRO HD
XDCAM MXF – DVCAM, IMX / XDCAM HD MXF
Uncompressed
8-bit SD, HD / 10-bit SD, HD
—
—
—
MPEG-2 4:2:2 I-frame HD
1440 / 1920 / 1280 Hor. Res.
50-300 mbps
1440 Horizontal Resolution
50-100 mbps
1440 Horizontal Resolution
50-100 mbps
—
✓
Editing only
Editing only
—
Compressed HD for offline
Realtime Video Effects
Three-way primary color correction, Three-way secondary color correction, Super smooth field- or frame-blended slow
motion, Advanced 3D DVE, Chroma/luma keying, Dissolve, wipes, Surface finish, Blur/glow/soft focus, Shadow
Transitions, Page curls, Mask, Pan & Scan, Mask mosaic, Mask blur, Four-corner pin, Track matte, Native Adobe transitions
Native Adobe effects – opacity, crop, motion, etc., Accelerated shine, Crystallize, Old movie, Lens flare, Move & scale
Ripple, Twirl, Impressionist, Adobe garbage mask, Sphere, Timecode, Accelerated cube (Requires GPU with 512 MB.)
Video Editing
Ultra high performance editing with Adobe Premiere Pro CS3, Realtime mixed-format timelines, EDL import and export,
AAF export, Waveform and vectorscope monitors, User customizable keyboard, Multiple nestable timelines,
WYSIWYG for compositing and graphics applications
Audio Editing
Support for multi-channel 5.1 surround sound, mixing and monitoring, Sub-frame audio editing
Audio sweetening with VST plug-in support, Voiceover recording in the timeline, VU meters on capture
Closed captioning support in NTSC
Analog Audio I/O
AES/EBU audio, SDI embedded audio
✓
—
2 in / 6 out (XLR)
—
—
2 in / 2 out via System Sound Card
2 in / 6 out, 8 in / 6 out
—
—
—
1/4” Output for Stereo Monitoring
✓
—
—
—
Simultaneous HD and SD output
✓
—
—
—
DVI-D preview output
—
✓
—
—
SD Video I/O
1394, Composite, Y/C, Analog component
SDI – SMPTE 259M Video I/O
✓
—
—
—
Analog and Digital Genlock
Analog Only
—
—
—
Input Only
HD 1394 Video I/O
✓
✓
✓
SDI HD – SMPTE 292M Video I/O
✓
—
—
—
Analog YPbPr component Video I/O
✓
✓
✓
—
Tri-level Genlock
✓
—
—
—
www.bhphotovideo.com
COMPUTER VIDEO
M AT ROX
1127
MXO2
Complete Portable I/O for Mac
The first truly complete portable I/O device for the Mac, the MXO2 is
lightweight, fits in your laptop bag, and runs for hours on a field
battery or the or the included AC adapter. It lets you work seamlessly
in any format you want. Designed to streamline editing workflow
Mfr # MXO2
B&H # MAMXO2
with Apple Final Cut Studio and Adobe CS3 Production Premium on
MacBook Pros and Mac Pros, the MXO2 provides broadcast-quality
input/output, monitoring, and up/down/cross conversion. Users can benefit from file-based workflows with native
support for XDCAM, XDCAM HD, XDCAM EX, and P2. In addition, they are not limited to using a single codec as with some
other I/O devices on the market.
F EATURES
Truly Portable
Flexible Workflows
◆ The first truly portable I/O device for the Mac.
The MXO2 gives you a wide range of workflow
possibilities by providing frame-accurate
capture via RS-422 deck control to a variety of
codecs including:
It fits easily into your laptop bag and can run
off standard field batteries or the included
AC adapter. It connects to your MacBook Pro
via Apple’s ExpressCard/34 slot or to your
Mac Pro via a PCI Express adapter card.
• ProRes 422
• DV
• DV50
• ProRes 422 HQ
• DVCPRO
• DVCPRO HD
• Uncompressed HD/SD (8- and 10-bit)
HD and SD Inputs/Outputs
◆ Features a full complement of professional
inputs and outputs. RS-422 machine control
is provided for frame-accurate capture and
print-to tape with Final Cut Pro and Adobe
Premiere Pro. Up to five user selectable
simultaneous video outputs, HD and/or SD
on HDMI, SDI, and analog are supported.
– Video inputs include HD/SD-SDI, analog component HD, composite, S-Video and HDMI
– Audio inputs include two XLR-balanced, two
RCA unbalanced, two AES/ABU, SDI and
HDMI embedded (up to 8 channels).
– Video outputs include two HD/SD-SDI, 12-bit
analog component, 12-bit composite, and
S-Video, one HDMI.
• Offline RT
◆ Work with file-based formats such as
XDCAM, and P2 on your timeline.
◆ The MXO2 provides SD analog black burst
(bi-level) or HD tri-level sync genlock. It can
genlock to any type of video input or to
house sync. Timing offset controls can be
used to align your video output relative to
your external genlock source to compensate
for cable delays within your facility.
toring via RCA and HDMI so you don’t have
to buy more equipment. The MXO2 also lets
you map any audio track in Final Cut Pro or
Adobe Premiere Pro to any audio output.
Realtime Hardware Conversion
◆ Provides realtime HD to SD downscaling.
Proper conversion of the HD color space to
the SD color space and proper aspect ratio
conversion to anamorphic, letterbox, and
center cut are supported.
◆ Provides realtime SD to HD upscaling with
HD and SD Monitoring
◆ The MXO2 turns your HDMI monitor into a
true-color video display you can trust, even
for color grading. It’s packed with features
that make it the ideal monitoring solution for
Final Cut Pro, Adobe Premiere Pro, and other
QuickTime-based applications. No need to
buy expensive HD monitoring equipment. In
addition, realtime downscaling feature lets
you view your HD projects on an SD monitor.
◆ Adjust and control your HDMI monitor
– Audio outputs include four XLR-balanced,
six RCA unbalanced for surround sound
monitoring, two AES/ABU, SDI and HDMI
embedded (up to 8 channels).
Audio Monitoring
◆ Provides built-in 5.1 surround sound moni-
exactly like you would a broadcast HD
monitor. Controls for hue, chroma, contrast
and brightness are provided. Also has a
Blue-only mode to gives you completely
accurate color representation.
◆ Provides 1:1 pixel mapping on HDMI monitors
that support this feature. You get accurate
monitoring on your HDMI display in the
following resolutions: 720 x 486 (NTSC),
720 x 576 (PAL), 1280 x 720 and 1920 x 1080.
proper conversion of the SD color space to
the HD color space.
◆ Offers realtime cross conversions from 720
to 1080 and 1080 to 720. Realtime frame
rate conversion is also supported with the
following cadences – 2:3:2:3, 2:3:3:2, and
2:2:2:4. It also facilitates monitoring when,
for example, you need to work with 23.98 fps
footage but your monitor does not support
that frame rate. You can use MXO2’s realtime
frame rate conversion to view your project
at 29.97 fps.
Final Cut Pro Acceleration
◆ In Dynamic RT editing mode, Final Cut Pro
automatically reduces frame size to let you
preview non-realtime segments of a project
at a better frame rate. The MXO2 hardware
upscaler accelerates these segments to their
original frame size saving processing power
for other Final Cut Pro operations, so you get
better realtime performance.
(212) 444-6601• 1-800-947-9901• Quick Dial 831
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COMPUTER VIDEO
MOT U
V4HD
FireWire Video Interface
With one simple plug-and-play FireWire 400 or 800
connection, the V4HD turns your Mac or PC desktop or
laptop computer into a powerful HD/SD video production
workstation equipped with all the video and audio I/O
you need. Connect all your gear, from SD camcorders and
monitors to professional HD cameras, video decks, LCD
reference monitors and plasmas – all at the same time,
with no cable swapping. Choose your input source, then
log and capture HD or SD clips directly into Final Cut Pro or Premiere Pro.
In Final Cut Pro, the V4HD supports full-raster1920 x1080 HD capture and playback using Apple’s ProRes 422 codec in both
standard and HQ modes. Final Cut users can ingest an uncompressed SDI or component HD source and then capture and
edit in ProRes while monitoring their ProRes timeline in HD and SD simultaneously via the V4HD’s hardware-accelerated
up- and down-conversion.
In Final Cut Pro and Premiere Pro, the V4HD provides hardware-accelerated capture and playback of DVCProHD,
DVCPro50 and DVCPro25 video streams, plus 8- and10-bit uncompressed SD — with convenient plug-and-play FireWire
connectivity and CPU-efficient intra-frame editing. The V4HD can also instantly playback DVCProHD/P2 clips (imported
or ingested) with no transcoding necessary. Conversely, you can connect any SD or HD video source such as an HDV
camera, legacy video deck or DVD player and then capture it directly as a DVCProHD clip in Final Cut or Premiere.
Many cameras now feed their uncompressed SDI or component output directly from the camera's optics and imager,
before compression, for the best-possible picture quality during capture. Need to bring SD material into your HD project?
The V4HD even provides hardware-accelerated SD-to-HD up conversion for capturing SD sources in DVCProHD format.
F EATURES
◆ HD/SD FireWire video interface for Mac and
Windows — provides HD and SD capture and
playback for any current-generation FireWire
equipped computer.
◆ Plug-and-play connectivity via FireWire 400
or 800 — connects to either a desktop tower
or a portable laptop.
◆ Captures and plays 25 HD and SD formats up
to and including 1080p30 (720p, 1080i, 1080p
and 1080PsF).
◆ Full-raster Apple ProRes workflow —
supports full-raster capture and playback
(1920 x 1080 and 1280 x 720) in Apple’s
ProRes 422 HD codec in both standard and
HQ modes. Work with ProRes clips pixel for
pixel in full 10-bit 4:2:2 resolution.
◆ HDMI monitoring — connect a large-format
HD plasma, reference LCD, consumer DLP or
other flatscreen for flexible and affordable
“pixel for pixel” HD monitoring.
◆ Provides hardware-accelerated capture and
playback of industry standard DVCProHD/P2,
DVCPro50 and DVCPro25 video streams
to/from Final Cut Pro and Premiere Pro.
◆ Connect multiple HD and SD sources and
destinations simultaneously. Switch HD/SD
sources on the fly while converting to
multiple HD/SD destinations. All outputs
are “hot”, regardless of source format.
◆ Pristine HD quality and efficient editing —
ProRes and DVCProHD formats provide
10-bit 4:2:2 broadcast quality color and
CPU-efficient, intra-frame native editing.
◆ Captures and plays uncompressed SD —
8-bit or 10-bit NTSC or PAL.
◆ Broadcast quality hardware-based real time
SD-to-HD up-convert — capture SD while
working in HD; monitor HD when working
in SD.
www.bhphotovideo.com
◆ Broadcast quality hardware-based real time
HD-to-SD down-convert — capture HD
while working in SD; monitor SD when
working in HD.
◆ Hardware-accelerated 2:3 or 2:3:3:2 pull-
down insertion and removal — go between
film and NTSC rates in real time, with no
rendering required.
◆ Comprehensive up/down conversion
formatting — anamorphic, pillar box,
letterbox, 14:9 pillarbox, 14:9 letterbox and
full screen.
◆ Two rack space form factor with dedicated
connectors — no cable swapping or gangly,
inconvenient breakout cables.
◆ Stand-alone operation — converts and
distributes selected input source to all
supported output formats with SD-to-HD
up-convert, HD-to-SD down-convert and
pull-down insertion/removal.
COMPUTER VIDEO
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V4HD
Video I/O
Built-in Mixer
◆ Choose any input as a video source and the
signal is distributed to all outputs, both HD
and SD simultaneously, via hardware-accelerated up/down conversion. This allows you
to work with both HD and SD devices without cable swapping. The HD-SDI and SD-SDI
banks supply two mirrored outputs so that
you can connect both a deck and a monitor
to each bank. Independent banks of HD and
SD component are also supplied, along with
legacy SD formats (composite and S-Video).
• HD-SDI and SD-SDI in and out (4:2:2 10-bit) on
independent BNC connectors.
• Extra HD-SDI and SD-SDI output connector.
◆ The V4HD is equipped with a complete 32 x 32 on-board digital mixer, allowing you to quickly
route any combination of inputs to outputs. This is a bona fide monitor mixer complete with 16
stereo busses, and panning, mute and solo on all input channels. Multiple mix outputs can share
inputs, giving you complete flexibility for any audio mixing application. Transfer from any audio
format to any other audio format with zero latency.
– 32-channel, 16-bus mixer for monitoring live inputs from cameras, mic preamps or other audio
sources with no delay. Set up send/return loops to digital mixers and outboard audio processing.
– Multiple CueMix DSP mixes -- create 16 separate stereo monitor mixes (8 stereo at 176.4 or
192kHz) for main outs, headphones, outboard gear send/return loops, etc.
– Audio delay compensation -- both fully automated and programmable controls ensure that
audio always remains perfectly in sync with picture
– Audio only mode -- operates as a 32 channel cross-platform audio interface
– Stand-alone operation -- mix and monitor with no computer connected
• HDMI output (4:2:2 10-bit, YCbCr or RGB).
• Support for DVI output with optional
HDMI-to-DVI adapter.
Laptop Operation
• HD and SD component in and out (10-bit,
YPbPr or RGB) on independent BNCs.
• Composite and S-video in and out (10-bit).
Audio I/O
◆ 32 channels of simultaneous audio input
and output (four 8-channel banks: analog,
AES/EBU, optical and embedded).
◆ 8 channels of analog in/out at all standard
sample rates from 44.1 to 192kHz.
◆ Four XLR analog in/out — 4-channel
direct connection without a breakout cable.
◆ 8 channels of AES/EBU digital in/out at
sample rates up to 96kHz.
Thanks to FireWire, the V4HD opens the door to a world of possibilities
for laptop systems. All current and late-generation MacBook and
MacBook Pro computers are equipped with both FireWire
400 and 800. Most PC laptops are equipped
with built-in 4-pin FireWire 400. In both cases, the
V4HD gives you plug-and-play broadcast-quality
capture and monitoring. With the enormous
performance gains seen in laptop technology,
they are now powerful enough to easily capture and
play back both HD and uncompressed SD video. You can
essentially build a complete capture/edit system that fits in a backpack.
Using FireWire for Video I/O also frees up the PC card slot on your laptop for professional-grade
video storage solutions. Expresscard-based storage solutions offer enough storage space and
access speed to support the most demanding HD and uncompressed SD workflows. Alternately,
you can daisy-chain a FireWire 800 hard drive on the same bus as the V4HD connected to the
computer via FireWire 800. This offers compact, portable yet large-scale storage.
◆ 8-channel HD-SDI and SD-SDI embedded
With Premiere or Final Cut
audio in/out, 24-bit at 44.1 or 48kHz.
◆ The V4HD is the first and only all-in-one capture/playback solution for Premiere that provides
◆ 8-channel HDMI embedded audio output,
24-bit at 44.1 or 48kHz.
◆ 8-channel ADAT optical digital audio in/out.
◆ Headphone jack with volume control.
both SD and HD capture over FireWire, allowing you to build a comprehensive, yet compact and
portable desktop workstation without the need for separate PCI expansion products.
◆ The V4HD provides support for full-raster 1920 x 1080 HD capture and playback using Apple’s
ProRes 422 codec in both standard and HQ modes. Ingest any uncompressed SDI or component
HD source and then capture and edit in ProRes while monitoring your ProRes timeline in HD and
SD simultaneously via the V4HD's hardware-accelerated up- and down-conversion. The V4HD
also offers hardware-accelerated DVCProHD capture and playback from Final Cut.
Synch and Device Control
◆ Video reference in / thru — resolve to
blackburst, composite or HD Tri-level sync.
◆ Using the V4HD with Final Cut Pro couldn't be easier. The V4HD software installer provides Easy
◆ Time code I/O: LTC, VITC (SD analog), D-VITC
Setup presets, Sequence presets, Capture presets and Device Control presets to get you going
quickly. In minutes, you'll be ready to log and capture, edit and monitor your project material.
(SD-SDI) and embedded (SD/HD-SDI).
◆ RS-422 machine control via
9-pin protocol.
◆ Word clock in, out and thru at sample rates
from 44.1 to 192K.
◆ DSP-driven phase lock engine provides
ultra-low jitter.
◆ The V4HD features
9-pin device control for batch capture, print to video and edit to tape
operations. It also provides up to 16 simultaneous channels of audio capture and playback with
Final Cut Pro in any of four support audio formats: analog, AES/EBU, optical and embedded.
V4HD - FireWire Video Interface (Mfr # 4026 • B&H # MAV4HD).........................................................2849.95
(212) 444-6601• 1-800-947-9901• Quick Dial 831
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COMPUTER VIDEO
NE W T E K
VT[5]
Integrated Production Suite
A TV studio in a box, VT[5] defines the cutting-edge in live
production. More powerful, flexible and affordable than
ever before, VT[5] features live switching and Web streaming of up to 24 cameras, live virtual sets, real-time keying,
titling, the world's fastest SD & HD editing and video
painting. All this is tightly integrated with everything you
need for production, post-production, and graphics.
VT[5]’s extensive HD post production capabilities include
sophisticated real-time, non-linear editing, video painting and a full-featured animated character generation package.
VT[5]’s real-time, uncompressed video processing with component and optional SDI output delivers unsurpassed video
quality. The optional SD switcher adds an additional eight SDI inputs and SDI routing functionality to the system.
Designed for the video producer that wants to expand their services without breaking the bank, VT[5] gives the power,
flexibility and functionality of a system costing much more. Whether the project calls for a live CEO message integrated
with pre-edited segments or a complex edit for broadcast television, VT[5] gives you the tools necessary to complete your
next award-winning project.
F EATURES
Live Switching
◆ Add up to 32 external inputs using SX-84
and SX-SDI expansion modules
◆ 16:9 wide-screen and 4:3 support
◆ Advanced matte capabilities for luminance
and chroma keying with adjustable controls
for spill removal, tolerance, smoothness and
garbage matte removal
◆ Key settings are stored for each camera input
◆ Key preview is visible before you take it live
◆ iVGA adds external computer displays (Mac
and PC) as a switcher channel with multiple
input selection
◆ Integrated DSK with both take and fade
in/out
◆ Titling, graphics, videos and animations
directly assigned to switcher buses
◆ Dynamic switcher buses allow reconfigura-
tion (no need to re-cable the video inputs)
◆ Save/load switcher configuration
◆ Support for transitions between virtual sets
◆ LiveSet Constructor utility to create
up-stream key graphics, virtual sets, fixed
background keys and more
◆ Upstream effects bus for double-box
interviews and picture-in-picture effects
◆ 2D and 3D DVE Transitions
◆ Hundreds of reversible DVEs (Fades, Wipes,
Curls, Trajectories, Rotation, Compression,
Borders, Chroma FX, Overlays and much
more...)
◆ Multi-format, multi-standard on-screen
video player
◆ Play back a single clip or list of clips
◆ Cue clips to roll instantly when triggered by
Switcher
◆ Use multiple DDRs simultaneously
◆ DDR can be assigned to the Downstream
Keyer (DSK) providing live animated overlays
◆ Count up or count down in either project
◆ LiveSet real-time virtual studio enviroments
with multiple camera angles and focal
lengths, real-time shadows, reflections,
lighting and more
Digital Disk Recorder
time or clip time
Titling or Character Generator
◆ Save As Title Template feature to create Live
◆ Record program out to hard drive either as a
DV file or uncompressed
Title Templates for VT[5] and TriCaster
Video Monitors
◆ WYSIWYG editing
◆ Interactive template based CG module
◆ Display Program output within CG interface
◆ Use any installed TrueType font
◆ Powerful drawing tools
◆ Create and insert graphic objects (boxes,
circles, splines, images)
◆ Save pages as 32-bit images or animations
◆ Save or recall text styles
www.bhphotovideo.com
◆ Full-field on-screen playback on computer
monitor
◆ Monitor program, preview, key or DSK buses
◆ Display supports 4:3 and 16:9 widescreen
◆ Underscan mode;
YUV video display
◆ Zebra stripes for both 75 IRE and over-legal
video
◆ Adjustments to match computer display to
reference video monitors
COMPUTER VIDEO
NEWTEK
1131
VT[5]
External Controller
Live Virtual Sets
◆ Control external RS-422 and DV decks from
your VT[5] desktop
◆ Batch capture deck lists and configurations
◆ Record allows user to enter time code
settings
Audio Mixer
(using SX-84 expansion box)
◆ Mix 8 live sources (stereo) and 8 online
sources (4-channel)
◆ 4 adjustable XLR balanced mic/line inputs
with phantom power
◆ 6 stereo unbalanced audio inputs from live
sources
◆ 8 inputs from computer sources
◆ DV and SDI audio inputs
◆ EQ, balance, mute and mono for all inputs
◆ Audio-follows-video capability
◆ Talk over (reduces mix levels for mic inputs)
◆ Automated mixing to transition between
audio presets
◆ 4-channel audio (4 discrete channels) in/ out
◆ PA mix output for live PA or control room feed
VT[5] includes LiveSet, a proprietary
new technology that allows users to implement multi-channel virtual sets in a
live environment with unprecedented
realism and video quality. This groundbreaking technology, integrated into a
live production environment, fundamentally changes the quality and the
power of the tools available for video
producers.
NewTek’s proprietary LiveSet system in
VT[5], allows separate virtual sets to be
assigned independently to all switcher
inputs, including all cameras and DDRs.
In addition, each input has an independent LiveMatte matting module that
eliminates the need for expensive hardware for each source connected to the system. Each virtual
set supports virtual cameras with multiple angles and zoom levels, with support for secondary
video sources for on-set virtual monitors. All effects are rendered with unprecedented photo-realism, including reflections, refractions, shadows, bump maps, and sophisticated filtering. Additionally, the advanced keying capabilities included in the LiveMatte technology enable refined
previews of mattes for the precise isolation of color, edge and spill for the sharpest possible results.
Video Scope Waveform Monitor
DVD Authoring
◆ Waveform of Y/V, Y, C, YUV or RGB
◆ Complete DVD authoring
◆ Vectorscope at either 75% or 100% chroma
◆ Direct encoding from a VT-Edit projects.
◆ Monitor program or preview feeds
◆ Instant DVD Project playback
◆ Adjustable display brightness and tint
◆ MPEG-2 encoding and decoding
Signal Correction Proc Amp
VT[5] Supported File Formats
◆ Brightness, contrast, hue, saturation
◆ U offset, V offset, U gain, V gain
◆ Calibrate computer sources as well as analog
sources
◆ Advanced panel with 70+ adjustable
parameters
Video Formats: AVI, DV, RTV, MPEG1, MPEG2
Program Stream, MPEG2 Transport Stream,
HDV, Quicktime (with alpha support), MPEG-4
(including PSP and iPod), Image sequences,
Flash, WMV HD (Render only) and VC-1.
Graphic formats: PG, JPEG, PNG, Targa (TGA),
Tiff, BMP,WBMP, PCX (alpha-channel support for
Targa and PNG)
Audio Formats: WAV, MP3, AU, SND, AIFF, WAX,
DIF
◆ Auto calibration for 75 IRE, 100 IRE bars and
video pass-through mode (requires SX-84)
Aura Video Paint
◆ Amazingly fast 2D paint and animation
engine
VT[5] Systems and Components
VT[5] Integrated Production Suite for Windows with SpeedEDIT (see next page)
(Mfr # VT090000-0501 • B&H # NEVT5F)........................................................................................................................Call
VT[5] LIVE! Integrated Production Suite for Windows with SX-84 Expansion Box (see next
page) (Mfr # RST00000-0504 • B&H # NEVT5BQ) ........................................................................................................Call
◆ Paint over live video
SDI Option for VT[5] (Mfr # SD090010-0101 • B&H # NESDIOVT) ................................................................995.00
◆ Four-point pixel tracking
SX84 A/V Switcher Expansion Module for VT[5]: Provides 24 composite and 8 component
and Y/C inputs, 4 balanced Audio In/Out, 12 RCA Audio In, 8 RCA Audio Out, RS-422.
(Mfr # SX080000-0901 • B&H # NESX84)...............................................................................................................2495.00
◆ 3D compositing
◆ Stroke recorder
◆ Instantly use a graphic alpha channel
SX-SDI Expansion Box: SDI Switching Hardware Extension
(Mfr # SD190010-0101 • B&H # NESXSDI) ......................................................................................................................Call
◆ Animate text along path
(212) 444-6601• 1-800-947-9901• Quick Dial 831
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COMPUTER VIDEO
NE W T E K
VT[5]
SpeedEDIT Non-Linear Editor
Anyone that needs to produce video for web, broadcast or
DVD will love from SpeedEDIT’s clean design, streamlined
operation, and pristine output. SpeedEDIT is a resolutionindependent video editor designed to work quickly and
efficiently on any project, from web streams to HD.
SpeedEDIT works smoothly and natively with MPEG-2, AVI,
QuickTime and most popular video formats in either SD or
HD. Enjoy real-time, full resolution on-screen HD previews
with FireWire output to camera or deck.
Rather than emulating the “old school” film-cutting
workflow, NewTek streamlines the editing process by
eliminating many unnecessary steps. SpeedEDIT allows
all editing functions to be performed directly on native clips within its unique timeline and storyboard interface. This avoids
time consuming transcoding or pre-trimming. SpeedEDIT further accelerates the editing by dynamically linking Storyboard
and Timeline, which allows the performance of many common functions in fewer steps. Ripple edits, clip replacement,
segment repositioning, 3D video rotation, color correction and animated titles are just a few of the everyday tasks that
SpeedEDIT performs faster than any other professional editor.
F EATURES
◆ Whether your are rendering an HD project in
Windows Media HD, VC-1, Blu-ray or HD DVD,
SpeedEDIT already has you covered.
◆ Virtual Studio Technology allows you to use
hundreds of audio tools for sophisticated
sweetening, and SpeedEDIT even provides
dozen useful audio plug-ins.
◆ SpeedEDIT lets you use project markers to
determine the exact frame to begin each
DVD chapter, for faster authoring.
◆ Let the SpeedEDIT Project Backup Wizard
quickly conform all your assests to another
drive for easy transport or archiving.
◆ It doesn't matter what you want to create,
you can output in that resolution. Low-res
web streams, standard def, or high def can all
be created from the same project file by
simply rendering out the desired size.
◆ Don’t waste time conforming or converting
clips. DVCPro HD, MPEG-2, M2t, QuickTime,
AVI and most other formats are ready to use
the moment you drag them into SpeedEDIT.
◆ Using Image Super-sampling, SpeedEDIT
allows you to transparently scale standarddefinition clips up to High-definition.
◆ One keystroke is all it takes to insert smooth
fades into a selected region or your entire
project. Keep building your story, without
even thinking about the process behind it.
◆ Stack clips as you need, and slide them to one
side or another to shorten/lengthen the pace
of the dissolve. Its about working visually.
◆ Enjoy the flexibility of adding or deleting
clips from your project — WHILE it plays.
◆ SpeedEDIT lets you lasso a group of clips and
with one gesture, shorten, lengthen, rotate or
color-correct the entire region at once.
◆ Quickly choose the shot you want from
among numerous takes, and drag it straight
to Timeline or Storyboard, without importing
or creating intermediaries or converting or…
◆ Need another copy of the clip you’re working
on? Hold down Ctrl key and drag a fresh copy,
complete with all settings from the original.
◆ If you have already edited, sized or
positioned a clip, it can be effortlessly
replaced withanother by just holding down
the Alt key while dragging the new clip on
top. All of the created properties are instantly
applied to the new clip.
www.bhphotovideo.com
◆ Left-clicking on the bottom of a Timeline clip
pops up a thumbnail showing the frame.
Holding the left button down and dragging
horizontally will perform a ‘local scrub’ of just
this clip. This is handy when you are trying to
find a clip or frame in a layer of elements.
◆ When active, clicking on any clip in the
project causes the time bar to snap to that
clip. This behavior can also be refined by
having the time bar jump to the first, middle
or last frame in the clip.
◆ Any adjustment to audio levels are
immediately visible in the clip’s timeline
waveform, as you adjust.
◆ HD and multi-layered SD projects may
require more disk bandwidth than your
laptop can provide. SpeedEDIT has dynamic
background renders that keep your complex
comps ready for playback as soon as possible.
Make a small change, and only that adjusted
portion re-draws for immediate feedback.
◆ Load that project tonight, tomorrow or two
years from now, and you can undo your steps
back to the project’s first action (if that is how
your preference is set).
COMPUTER VIDEO
1133
NEWTEK
VT[5]
◆ Ctrl-drag a clip into a folder and it saves clip
settings. This provides multiple benefits,
such as music clips already marked to the
beat of the music. These instances point back
to the source clips, and take no disk space.
◆ Use your own system to visually distinguish
between audio narration, music clips and
background efx; pinpoint problem areas
from your last session.
SDI I/O Expansion Card
NewTek's SDI option allows you to send VT's pristine D1 video output in real-time in an absolutely
lossless, uncompressed state to any SDI-capable capture device or tape deck using a single coaxial
cable. For users of Digital Betacam or Digital-S equipment, this is the perfect solution, providing a
direct digital connection between your source or master tapes and VT.
SX-84 Switcher Expansion Module (6U Breakout Box)
◆ Combine SD and HD clips on the timeline.
Anything can be edited alongside or on top
of anything else. Mixing your existing library
into your new HD clips never gets in the way
of the story, as there’s no converting or rescaling to distract you.
◆ Edit a project in any resolution, from a 320 x
240 web stream to 2880 x 1920 max resolution and then render it out to any resolution,
progressive or fielded, that you need. This
also gives you the ability to output HD, SD
and web-sized versions of the same project.
◆ No intermediaries. Drop an HD clip onto the
timeline from a folder and it is ready to scrub
and play. Avoid time wasted converting or
rendering clips when you could be building
your project. SpeedEDIT allows you to send
your project back through the camera for
HDV playback on your broadcast monitor.
The SX-84 is the heart of the VT[5] LIVE! Switcher, offering component, Y/C or composite ins and
outs, along with audio, preview, alpha channel, tally, GPI and machine control. There are 8 Video
input rows, but that does not indicate the true flexibility of this rack-mountable beauty measuring
18 7/8” wide by 10 ½” high (or 6 rack-units high) and 1 ½” deep. This is a production switcher that
saves you both time and money.
All inputs can use whatever cameras you have at your disposal, and unlike most switchers, does
not require cameras to be genlockable. VT[5] performs all this internally, with each input having its
own dedicated genlock controls in software. This means less gear to haul to a shoot, less time in
setup and less investment for you to produce a multi-cam production. There is even an input for
house synch, so you can time VT[5] to the other suites.
SX-SDI Switcher Expansion Module (2U Breakout Box)
In addition to live switching of 8 digital sources, SX-SDI also serves as a signal router, with the ability to assign any of the serial digital inputs to any of 5 digital outputs. Further flexibility is provided
on the audio side, with support for embedded digital audio selectable from any SDI input, as well
as AES-EBU audio in and out. While the SX-SDI adds additional inputs to VT[5], it does not limit the
capacity of the SX-84 analog switcher. This means an SX-SDI added to a VT[5] LIVE! system continues to provide component, Y/C and composite in and out in addition to the digital connectivity.
◆ Output any frame-rate or resolution.
Whether you are editing for output to
Jumbotron, HD, DVD or broadcast, you can
provide exactly what your client wants. Edit
any clips you have, and focus on the pacing
and storyline. When completed, you can
render out to any resolution you need.
VT[5]
Then, with two clicks, recall it to apply to one
or dozens of clips in the project.
◆ CG Post allows animated titling in any aspect
or resolution. Nearly 200 preset pages allow
a quick starting point for fast set-up.
◆ SpeedEDIT lets you make both subtle and
major warm/cool correction to your video.
◆ Pick a color. Any color. Now, modify just that
✓
✓
✓
✓
—
—
1 in/out Unbalanced stereo audio
✓
—
—
1 genlock input
✓
—
—
✓
—
—
Option
✓
✓
8 component or 8 Y/C or 24 composite inputs
—
✓
✓
4 component or Y/C outputs
—
✓
✓
4 composite program outputs
—
✓
✓
4-Channels XLR balanced audio in/out
—
✓
✓
12/8 RCA unbalanced audio in/out
—
✓
✓
1 Tally / GPI connector
—
✓
✓
SX-84 switcher expansion module (6U breakout box)
Option
Option
✓
8 Serial Digital inputs
—
—
✓
1 Serial Digital Preview + 1 Program outputs
—
—
✓
5 Serial Digital routeable outputs
—
—
✓
Embedded Serial Digital audio: 1 input /1 output
—
—
✓
AES-EBU Serial Digital audio: 1 input /1 output
—
—
✓
Option
Option
SX-SDI switcher expansion module (2U breakout box)
color with saturation or hue. Do that three
more times and you have the ability to
fine-tune anything in the frame.
◆ Simultaneous wide and close-up views of
the project.
◆ Real-time chroma and luma keying with spill
suppression.
◆ Real-time animatable video and audio filters.
+ SX-SDI
1 in/out Component YUV or Y/C or composite
VT[5] 32-Bit PCI 66 MHz card
1 Alpha out / preview out
◆ Perfect a move or color-correction once.
VT[5] LIVE!
SDI I/O Expansion Card
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1134
COMPUTER VIDEO
RED G I ANT
MAGIC BULLET SUITE 2007
Powerful Finishing Tools in One Package
Magic Bullet Suite 2007 supports After Effects, Final Cut Pro, Motion, Premiere Pro, and Avid.
The full suite of tools includes Magic Bullet Looks (including Misfire), Magic Bullet Frames,
Magic Bullet Colorista, and Instant HD for high-quality up-conversion. (Each package is also
available individually).
MAGIC BULLET SUITE 2007 (B&H # REMBS07) ...............................................................................................................................699.95
Magic Bullet Looks
Set the mood on any timeline
Desert sunrise, Arctic tundra, nighttime urban streets: the look of
your footage defines the mood. Now you can define the style of
your video or film, regardless of on-set conditions, with powerful
imaging tools. Choose from100+ Look presets, to help set the
mood for everything from a wedding to the next Sundance
original. You also get the standalone Magic Bullet LooksBuilder,
for pre-visualizing looks on set or anywhere. Portable presets load into any editing hosts, so the same Looks you create on
set are the ones you finish with in the editorial suite: no need for an expensive finishing system.
◆ Designers interface balances ease of use with
the power of 36 distinct Look Tools that
emulate how light is captured on film. Emulate the apprearance of specific film stocks
and technical processes such as TechniColor,
Bleach Bypass, 2 and 3 process. Tool controls
keep clutter to a minimum. A linear-light
processing engine provides fluid interaction
using the power of your graphics card.
◆ More than one hundred unique Looks,
conveniently organized by category in the
Look Library, are a great starting point for
defining the mood of any scene. The presets
range from simple exposure and film
process emulation to radical color changes.
Best of all you can use the Look Theater to
browse through the library using your own
images — finding a look couldn’t be easier.
◆ Magic Bullet Looks works as both a plug-in
and a standalone application. The LooksBuilder plug-in accesses presets and renders
looks inside a variety of popular editing
software packages.
◆ Customize one of the 100 presets with
LooksBuilder (organized by category, ranging
from simple exposure and film process
emulation to radical color changes), or
create your own unique looks from scratch
and save them for later use. The application
lets you refine and create looks anywhere,
from on set to your edit suite, using any
image as a foundation. Go from pre-visualization to final output, all with the same look.
◆ Match look of TV or film (for example, The
Matrix, Traffic, CSI, and Saving Private Ryan).
What is a Look?
Traditionally achieved with filters, filming techniques or chemical processes, a “look” was any
treatment applied to film stock to lend it a color, appearance, or mood. With digital editing,
many more sophisticated effects are now possible. Often referred to as color correction, the
process is similar to working in a virtual darkroom. Ordinary footage can be made to look
like old films or TV, colors can be adjusted to turn a daytime shoot into film noir, and camera
tricks can be simulated digitally.
◆ Quick Drawers provide access to tools and
presets without wasting valuable space.
◆ Get blazing speeds with GPU acceleration
(using your ATI or NVIDIA card).
◆ Include Magic Bullet Misfire, which adds
film damage such as dust and scratches to
artificially age a film.
◆ Adjust the mood to match the scene or
dialogue throughout your movie. Add
warmth to wedding videos, even when shot
on cloudy days. Simulate different time
periods and aged appearance. Create a
distinctive look to visually distinguish a
flashback or other special sequences. Presets
without taking up valuable space.
◆ Works as a plug-in for Final Cut Pro,
Motion,
After Effects, Premiere Pro, and Avid systems
or a standalone application.
◆ Use either a trackball or trackpad for instant
manipulation of a tool’s controls.
◆ Handles SD, HD, 2K, and 4K images on
standard hardware, or up to 8K x 8K pixels
with the latest NVIDIA GPUs.
◆ Unique linear-light processing engine and
HDR support yield true-to-life results.
www.bhphotovideo.com
COMPUTER VIDEO
R ED G IA NT
1135
MAGIC BULLET SUITE 2007
Magic Bullet Colorista
Simple, fast, industry-standard color correction
Now that you’ve locked your edit, load Magic Bullet Colorista and make your
project shine. Under the hood is the next-generation Magic Bullet engine with
real-time processing for fast review and rendering. Colorista is ready for action
with industry-standard color wheels for precise color control. Plus, use the
Power Mask tool to isolate areas - the easiest way to light up your talent.
◆ Colorista make your whites look white and your talent look their best
with controls for modifying shadows, mid-tones and highlights.
Colorista uses the Lift, Gamma, Gain color model to assure that
shadow values do not become too bright during the tinting process.
◆ Color Finesse 2 uses Offset Gamma Gain and will cause shadow bright-
ening when using tint that can be objectionable because it lowers the
contrast of an image making it look muddy and less detailed.
◆ Saturation and Exposure options let you makes flesh tones look natural,
plus set the highlight and shadow levels exactly. Apply the correction
just where you need it. With Colorista you can create a simple circular
or rectangular shape to isolate a specific zone. No longer is it necessary
to pre-mask a shot to deepen the color of a sky or redefine the actionable area of the shot. The animatable controls for area and feather let
you work right in the canvas or composer window.
Magic Bullet Frames
Give interlaced video the 24p look of film
Start with ordinary interlaced video, apply Frames, sophisticated algorithms, and
you’ll get the smoother, professional de-interlaced look of 24p film. Choose
between motion-adaptive and field-blended approaches, and you’ll get high
quality footage at high speeds, right in your editor’s timeline. NTSC-to-24p and
De-interlacing filters offer both a field-blended and a motion-adaptive de-interlacing approach that deliver great artifact-free
video. Includes letterboxing and line offset controls to easily create mattes and adjust the image inside the letterbox area.
◆ Shoot on low-cost video and get the expensive look of film. Converts
interlaced 60i/50i to 24p/30p/25p right on the timeline without
going to another program.
◆ Get true 24p conversion from interlaced material (including NTSC, PAL,
and HD) in Final Cut Pro, Premiere Pro, After Effects and Motion. Filters
support greater than 8-bit per channel processing in all hosts.
Magic Bullet Instant HD
Crystal-clear HD with one click!
Instant HD up-converts DV video into a variety of HD video formats. Choose
from a list of preset resolutions to easily integrate DV video into your next HD
production. When scaling from standard definition (SD) to high definition (HD),
Instant HD's algorithms generate the missing pixels with integrated sharpening
and anti-aliasing for sharp, clear results inside your favorite video application.
◆ 5 simple controls: Output Size, Filter Type,
◆ Improve the final appearance with integrated
Sharpness, Quality settings, and Antialiasing
◆ Output resolution presets lets you quickly
choose the right HD output resolution
sharpening
for high definition broadcast
◆ Antialiasing smoothes the rough edges of DV
video
◆ Conform standard defintion motion graphics
◆ Use Instant HD output with Magic Bullet to
deliver professional “film look” HD masters
Magic Bullet Looks (B&H # REMBC) .........................................................399.00
Magic Bullet Frames (B&H # REMBF) .......................................................196.95
Magic Bullet Colorista (B&H # REMBC) ...................................................196.95
Magic Bullet Instant HD (B&H # REMBIHD)...............................................97.95
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1136
COMPUTER VIDEO
RED G I ANT
TRAPCODE SUITE 2008.5
All the Trapcode plug-ins at one affordable price
With Trapcode Suite 2008.5, the right effects plug-in will always be at your fingertips, because
they’re all included! This motion graphics bundle of products provides a wide variety of the
industries’ best tools to create unique, eye-popping effects easily. Included are light effects, 3D
particle systems, back grounds, 3D lights and much more. Includes Trapcode Particular, Form,
Shine, Starglow, Lux, 3D Stroke, Particular, Echospace and Sound Keys, and the new Trapcode
Form plug-in. (Each package is also available individually).
TRAPCODE SUITE 2008.5 (B&H # RETS2008) ...............................................................................................................................................699.95
Trapcode Form 3D Surface Generator
Words dissolve into sand, logos catch fire, and water droplets ripple to bass
guitar. All of this is possible with a single powerful plug-in that generates
animated 3D shapes to mesmerize and entice viewers. Choose from 61
customizable presets, or tweak your own to get just the look you want. Full
integration with After Effects’ 3D environment allows you to fly cameras
through and around your animated forms.
Trapcode Particular Quick-rendering 3D particles
Particular is a powerful 3D particle system that can produce a wide range of effects from natural smoke and explosions to geometric or organic abstract motion
graphics design elements. Tight integration with Adobe After Effects provides
bouncing particles on 3D layers, emitting particles from layers and lights and
using a layer as custom particle. Comp-camera aware and16-bit of course! The
physics engine includes air resistance, gravity and turbulence, providing very realistic particle motion. The keyframable Physics Time Factor gives you full control
over time so you can freeze time and move the camera around in a scene.
Trapcode 3D Stroke
Create glowing, swirling shapes and lines, then fly
the camera through them!
3D Stroke uses paths from one or more masks to render volumetric strokes that
can be rotated and moved freely in 3D space. Path reveals are made easily using
the keyframable sliders for start and end. With 3D Stroke, paths, logos or lines can
take on lives of their own: glowing, tapering, and moving in complex ways through
3D space, while a built-in camera lets you capture the action from any angle. Its broadcast TV’s secret weapon for animated
logos and sophisticated write-on effects.
www.bhphotovideo.com
COMPUTER VIDEO
R ED G IA NT
1137
TRAPCODE SUITE 2008.5
Trapcode Shine
Trapcode Horizon
Ultra-fast light ray effects!
The sky is no longer the limit!!
Create compelling light
effects without leaving
your editing timeline, and
without the tedious render
times of specialized 3D
applications. Sunshine
through clouds, headlights
through fog, or horror
movie titles: Shine does it
all. Choose from 22 powerful presets, or make your own light ray effects
from scratch. 16- and 32-bit support guarantee high-quality light effects
for any project.
Give your compositions
what they’ve been missing
with this unique mapping
tool. Trapcode Horizon
plug-in is a camera-aware
image mapping tool that
ties your After Effects
camera to a 3D world.
By applying images or
gradients to the inside of a giant sphere, Horizon creates an infinite
background. No matter where your camera is directed, the simple
ontrols make photorealistic backgrounds or sky gradients a snap.
Trapcode Sound Keys
Trapcode Starglow
Synchronize video to any audio
Give ordinary highlights a dazzling,
sparkling effect
Audio-intensive animations no longer require time-consuming handtweaking of keyframes. Trapcode Sound Keys, a plug-in for Adobe After
Effects, makes it easy to synchronize motion and sound using either
amplitude or frequency ranges. Unlike palette-based audio-sync
products, Sound Keys is applied as a regular effect, making it possible
to save settings with your project, generate keyframes into output
parameters, and link keyframes to expressions.
Starglow is a fast-rendering multi-directional glow effect. It can be used
to create multi-colored star shaped glints like those created by a camera
filter. Each customizable glow consists of up to eight directions, and
each direction can be assigned an individual color map and streak
length offering endless possibilities.
Trapcode Lux
Trapcode Echo Space
See the light in After Effects
After Effects’ 3D lighting
feature creates pools of
light generated from light
sources in 3D space —
but you can’t see the light
itself or the cone it produces. Lux simulates the
“visible light” phenomenon
of light in a dark or foggy
environment. Use Lux to create incredibly realistic visible light sources
for spotlights, flashlights, headlights, or stage lighting of all kinds.
Create painless 3D layer instances!
Echo Space takes the
tedium out of working with
multiple layer instances in
After Effects. Begin with an
image, text, footage, or
even compositions, and
Echo Space will create
multiple versions of that
layer which can be
controlled as a group or individually. Movement and effects can ripple
through the stack — with offset and delay controls and much more.
TRAPCODE SUITE 2008.5 (B&H # RETS2008) ........................................699.95
TRAPCODE HORIZON (B&H # RETH) ..........................................................97.95
TRAPCODE FORM (B&H # RETF) ...............................................................196.95
TRAPCODE SOUND KEYS (B&H # RETSK) ..............................................147.50
TRAPCODE PARTICULAR (B&H # RETP) ................................................295.95
TRAPCODE STARGLOW (B&H # RETST) ....................................................97.95
TRAPCODE 3D STROKE (B&H # RET3DS) .................................................97.95
TRAPCODE LUX (B&H # RETL)....................................................................196.95
TRAPCODE SHINE (B&H # RETS) .................................................................97.95
TRAPCODE ECHO SPACE (B&H # RETE) ...................................................68.50
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1138
COMPUTER VIDEO
RED G I ANT
PRO KEYING SUITE 2008
Everything you need
to pull the perfect key in After Effects
Frizzy hair? Semi-transparent glass? This bundle of Primatte Keyer Pro 4.0 and Key Correct Pro
lets you tackle the toughest keying challenges with confidence and in record time. Begin by
using Key Correct Pro’s pre-key tools to prep your footage for keying in the powerful Primatte
Keyer, then touch up your mattes in Key Correct Pro for pixel-perfect results within After Effects.
PRO KEYING SUITE 2008 ...........................................................................................................................................................................699.95
KEY CORRECT PRO
The Ultimate Greenscreen Companion
Key Correct Pro is a set of15 plug-ins designed to help After Effects users create
better composites with built-in keying tools. This set of plug-ins can be in used in
combination with any keyer to soften alpha channels, match foreground and
background colors, fix outlines, and clean up noise. Ensures top-quality results
from popular keyers such as Primatte Keyer, Keylight, and Ultimatte.
◆ Color Matcher filter re-maps foreground colors to match backgrounds,
making it easy to put your subject in front of a virtual sunset or other
compelling backgrounds.
◆ The deartifactor PreKey filter fixes chroma sampling problems that are
often found in footage shot on DV or HDV cameras.
◆ SmoothScreen minimizes background color variation before the key is
pulled, while Alpha Cleaner fills in the holes in a matte afterward.
◆ With Matte Feather and Edge Blur, you can accurately soften the edges
of mattes, hiding the uneven and chattering edges that are often
caused by noise, grain or DV artifacts.
◆ Light Wrap gives the illusion that background-layer light is reflecting in the foreground, allowing colored lights from sunsets or other scenes to
reflect on your subject.
Primatte Keyer Pro
A perfect key with a single click!!
Primatte Keyer Pro is a professional greenscreen tool that extracts keys
from any color background quickly and easily. Brings new levels of power
and speed to After Effects, Avid and Final Cut Pro. New features include
easy-to-use Auto setup, which creates an almost-perfect key with one click.
Powerful features allow Primatte Keyer to overcome keying challenges such
as uneven lighting, compression artifacts, subtle shadows, and edge light
contamination. Best of all, Primatte Keyer 4 works right on the timeline.
Users get the power of Primatte's amazing
quality, but with just one click. The new autosetup analyzes the backing color and creates
the key setup automatically.
With new versions for Final Cut Pro and Motion,
users can create mattes right on the timeline
without leaving their editing application.
Key Correct Pro (B&H # REKCP) ...................................................................394.95
www.bhphotovideo.com
Light wrapping and color match features
ensure keys that look like they’ve always
belonged on the background of your choice.
Primatte Keyer Pro (B&H # REPKP) ............................................................493.95
COMPUTER VIDEO
R ED G IA NT
1139
KNOLL LIGHT FACTORY
Lens flare tool from Academy Award winner John Knoll
Created by John Knoll, Photoshop co-creator and
Star Wars effects guru, Knoll Light Factory is one
of the industry’s most popular motion graphics
tools. It is most famous for its high-fidelity
simulations of light effects called flares, which
simulate reflections from a very bright light
source as seen through a camera’s lens. Knoll
Light Factory is Hollywood’s go-to tool for adding
interest to text or logos or extra pop to FX explosions.
◆ Build your own flares or edit a preset with
◆ Use the same presets (over 70) that the pros
the custom lens editor. Choose from
elements such as StarFilter, Ellipse, or
PhotonSpikeBall, and control each
element’s position, color, scale, thickness,
angle, and width. You also get pinpoint
control over brightness, scale and color of
the lens as a whole.
turn to every day for sports events and
major motion pictures. Presets include
Desert Sun, Arc Welder, Generic Panavision,
Spikey Glow, Pv1 (for exploding stars),
RedLaser, RockConcert, Omnimax (a flare
seen on IMAX projection), or Distant
Quantum (the original photon torpedo).
◆ Flares can be obscured by objects (cars,
enemy spacecraft) that come between them
and the viewer. The auto-track feature tracks
specific points in an existing alpha channel,
making flare location a snap. The integrated
Knoll Unmult tool generates alphas, making
it easier to include lights and flares in
complex composites.
Knoll Light Factory (B&H # REKLFP) .............................................................................................................................................................................................................................394.95
RADIUM GLOW
Easily add sophisticated glimmer
to your projects
Unlike most glow filters that just blur your source video, Radium Glow
gives you pinpoint control over the glow, with editable shapes that can
generate precise outlines or create glimmering points. Includes
advanced edge controls, built-in masking, and output controls that mimic real light behavior. Choose one of three
separate glow plug-ins to add nice neon-shaped glows to text, or combine Radium Glow with Trapcode Particular or other
plug-ins to create dazzling highlight effects.
◆ Radium’s intelligent area selection system
makes the image glow where the source is
the brightest. Bright parts of the subject glow
larger, much like the result of widening a real
camera’s iris. This yields natural-looking halos
and sparkle that cannot be replicated with
other glow effects.
◆ Plug-ins include Glow which offers advanced
◆ Radium Glow uses shapes to generate a glow.
masking and intensity controls, Glow Lite has
simple controls to apply a glow quickly, and
Glow Edge applies glows only around the
edges of objects. Four quality levels and full
32-bit floating-point rendering let you find
the right tradeoff between speed and detail.
Simple circles and star shapes are included,
along with a library of 10 other shapes to
enable sophisticated glow effects. Glow can
even use any source image as a shape, giving
you powerful creative control.
Radium Glow (B&H # RERG) .............................................................................................................................................................................................................................................97.95
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1140
COMPUTER VIDEO
SONY
VEGAS PRO 8
Professional Video, Audio
and DVD Creation Software
Vegas Pro 8 is actually a collection of software, including Vegas Pro 8, DVD Architect Pro 4.5,
and Dolby Digital AC-3 encoding software, to offer an integrated environment for all phases
of professional video, audio, DVD, and broadcast production. These tools let you edit and
process DV, AVCHD, HDV, SD/HD-SDI, and all XDCAM formats in real time, fine-tune audio
with precision, and author surround sound, dual-layer DVDs.
Vista-compatible, Vegas Pro 8 expertly delivers broadcast-ready, high definition content
through its flexible user interface and extensive professional toolset. It offers customizable
creation tools Including ProType titling technology, multicamera editing, and Blu-ray disc
burning. Equipped with a new 32-bit floating point video engine, Vegas Pro 8 delivers increased quality and accuracy of
final output while handling a10-bit SDI interface at full capacity.
The software offers enhanced scripting capabilities for automating complex workflows, as well as providing new
capabilities for editing and delivering Sony AVCHD content. Sony Vegas Pro 8 also introduces a new channel-based mixing
console and other audio enhancements, continuing its legacy as the most optimized solution for integrating audio within
the video production environment.
F EATURES
◆ Edit multicamera productions intuitively and
quickly by specifying shots as you watch
your project. Switch between as many as 32
video sources. Vegas Pro 8 keeps all unused
shots as alternate takes to make fine-tuning
your edits more efficient.
◆ Surpasses traditional 10-bit standards with
32-bit floating point video processing. Take
advantage of greater color range for more
vivid colors, reduced gradient banding and
posterization for smoother color transitions,
linear light capability for optically correct
compositing, and many other precision
enhancements.
◆ Edit on 23.976, native 24, 25, 29.97 or 30 fps
timelines. Use video in different sizes and
frame-rates all on the same project or on the
same track—no conversion is necessary.
Render Vegas projects out to just about any
resolution.
◆ ProType Titler lets you create animated text
effects with splined paths, per-character animation, and advanced curves. Add shadows,
glows, blurs, and gradients for unique text
treatments. Supports Unicode and TrueType
fonts, as well as OpenType fonts with kerning
pairs, alternate styles, bidirectional text,
ligatures, custom kerning, and more.
Fast, flexible, and feature-rich, Vegas Pro 8 is ideal for SD and HD digital video production,
streaming content creation, broadcast production, and more. Edit SD or HD video with
drag-and-drop functionality, mouse and keyboard trimming, and ripple editing. Features
include ProType Titling technology, multicamera editing tools, 32-bit floating point video
processing, customizable window layouts, color-coded snapping, improved HDV/SDI/
XDCAM support, Cinescore plug-in support, A/V synchronization detection and repair,
and auto-frame quantization.
www.bhphotovideo.com
COMPUTER VIDEO
S O NY
1141
VEGAS PRO 8
◆ Digital signage support makes it easy to
author video for tall signage purposes.
◆ Multiprocessor support significantly reduces
complex project-render times on multiprocessor, HT, and multicore systems.
◆ Use multiple file formats and frame rates in
the same project or on the same track, and
crossfade them on the same track roll—all
without conversion or rendering.
◆ Provides high-quality MPEG-2 encoding for
DVD, broadcast and other delivery targets.
◆ Powerful color correction and matching tools
let you adjust differences in video from
different camera setups or lighting situation.
Enhance dull, washed out footage; or make
specific color ranges stand out.
◆ Supports high-performance native HDV M2T
playback, and 601/709 color space handling.
Offers superior SD downconversion and
frame-rate conversion including 24p, and
precision upconversion for HD-SDI mastering.
Also has powerful no-recompress technology for faster render times.
◆ SD/HD-SDI support for Blackmagic DeckLink
boards and AJA Xena cards allow you to
capture, edit, monitor, and print-to-tape
using SDI and component SD and HD decks.
◆ Choose from over 190 customizable video
effects including: Lens Flares, Light Rays, Film
Effects, Chroma Key, Timecode Overlays,
Color Gradients, Media Generators, Credit
Rolls, Text Effects and more.
◆ Over 175 2D and 3D real-time transitions,
including Barndoor, Clock Wipe, Dissolves,
Iris, Linear Wipes, Page Peels, Venetian Blinds,
Zooms, 3D Fly In/Out, 3D Shuffle and more.
All transitions are customizable and can be
keyframed to change over the length of
each fade or overlap.
◆ Envelope Brush “Paint” Tool lets you “paint”
an envelope curve over time by holding down
the shift key. This is a quick way to outline
the general shape of an envelope without
placing and modifying many distinct points.
Once you rough in your envelope, the auto
thinning feature approximates the drawn
curve with as few points as possible. These
points can then be further adjusted.
◆ Transition progress envelopes provide full
keyframeable control over all transition
attributes across the length of an event overlap. Create customizable fades or reverse,
hold and repeat individual transitions.
DVD Creation
Nothing beats DVD Architect Pro software for
professional DVD authoring. Its clean, dragand-drop interface and powerful layout and
authoring tools make it easy to develop
dynamic menu-based DVDs, movies, picture
slideshows, and music compilations. DVD
Architect Pro 4.5 software works seamlessly
within the Vegas Pro 8 environment.
With Vegas Pro 8 you can burn a Blu-ray Disc directly from the timeline. Blu-ray Disc burning
allows you to create a disc similar to a “single movie” DVD—the movie has no titles, menus,
or buttons. Blu-ray Disc burning in Vegas Pro 8 provides an alternate distribution option
for high-definition content, rather than traditional file-based hard disk or streaming media
formats. You can also use the Blu-ray Disc burning feature to create high-definition discs
that can playback on a set-top Blu-ray Disc player or on a Sony PS3 gaming system.
◆ Author menu-based and single-title
DVDs using backgrounds, motion
menus, buttons, text, and effects.
Set content to loop, hold, or timeout at
the end of a scene. Import layered
Photoshop (PSD) files for use as backgrounds, buttons, masks, graphics.
◆ With Sony Cinescore installed, use it
within DVD Architect Pro to generate
music for menus, slideshows, and media
without leaving the DVD Architect Pro
environment.
◆ Create instantly previewable 3D motion
effects in realtime with precise control over
Z-depth, plane intersection, compositing and
more. Track grouping model allows multiple
tracks to move and rotate in 3D space.
◆ Produce keyframeable Bezier masks for
complicated objects. Create depth-of-field
effects, apply color correction to specific
areas of a clip, crop surrounding source
material and create mask overlays. Multiple
animated free-form shapes can be created in
a single window, with mask invert control for
each object. Feather and blend hard edges,
set opacity levels for each layer, and zoom
the workspace to the sub-pixel level for
extremely accurate Bezier mask creation.
◆ Full screen timeline playback to secondary
displays via component or DVI connections,
with support for scaling, de-interlacing, and
color profiles. Additionally, supports timeline
monitoring using DeckLink cards, at all
supported resolutions.
◆ Create and run scripts in final DVD
design. With scripting you can build
robust interactivity into DVD projects.
◆ Add keyframes to the DVD Architect Pro
timeline to animate objects such as
buttons and graphics. You can also use
keyframes to control pan/crop attributes
over time.
◆ Different marker types give you
complete control over: Scene selection,
Navigation and Button-over-video
placement.
◆ Make subtitles for use in DVD Architect Pro.
Create named regions, export the list as a
text file using the provided script, then
import the file into DVD Architect Pro to autogenerate frame-accurate subtitles. Translated
files can also be used as alternate language
subtitles in a DVD Architect Pro project.
◆ Directly import Flash (.swf ) files
which can
then be scaled to any project size without
loss of resolution. Create complex text animations and other effects for projects using
any editing tool that supports .swf export.
◆ Capture, edit, and render 24p for DV, XDCAM
MXF, HD-SDI and more. Export 24p MPEG-2
for use in DVD Architect, create 24p DV,
XDCAM HD and HDCAM masters, or create
24p files for conversion to film.
◆ Includes Vectorscope, Waveform, Parade and
Histogram scopes to accurately measure—
in realtime— the color, black and whites of
video, and locate illegal chroma and luma
levels so you can fix them prior to output.
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1142
COMPUTER VIDEO
SONY
VEGAS PRO 8
Audio Production
Vegas Pro 8 includes a powerful set of audio tools for the most demanding productions.
24-Bit/192 kHz audio, 5.1 surround mixing, effects automation and time compress/
expand. Mix audio in a multitrack environment on an unlimited number of tracks. Use
on-the-fly punch-in recording, real-time record meters, 32 assignable effects, 26 Master
and Aux outputs; perform automatic crossfades and take advantage of hands-on
mixing using external control surfaces and envelope automation recording. Apply
customizable, real-time audio effects like EQ, Reverb, Delay, and more. Expand your
audio processing and mixing options with supported third-party DirectX and VST audio
plug-ins. Use the Mixing Console for precise audio control. No other NLE provides as
robust an audio feature set as Vegas Pro 8 software.
◆ The Mixer Console provides sophisticated hardware emulation to mix
audio, specify routing, assign audio effects, and control automation.
Customize your console layout and the details of all track and bus
controls—including FX sends—to make working with your audio
mixes efficient and productive.
◆ Vegas Pro 8 takes advantage of new multicore and hyper-threading
computer systems to maximize available hardware resources. By
leveraging the full capabilities of the hardware and reducing direct
CPU load, you will notice:
• Greater number of tracks and audio/video effects for real-time preview
• Improved performance at lower latencies • Faster audio render times
◆ Vegas Pro 8 automatically detects the existence of Sony Cinescore
software, if installed, so you can use Cinescore software within the
Vegas Pro environment. This allows you to edit your video and quickly
create a custom soundtrack in one application.
◆ Supports full resolution 24-bit/32-bit 192 kHz files for the ultimate in
audio fidelity. Import, save, and even record to this resolution if your
hardware supports it.
◆ Apply over 30 customizable, real-time audio effects. Automate delays,
reverbs, EQs and more with envelope control for each parameter. Use
over ten automated effects such as Track EQ, Reverb, Chorus, Delay,
Noise Gate, and Flange/Wah/Phase. 5.1 DirectX effects for the master
bus include EQ, Dither, and Wave Hammer Surround compression
tools.
◆ Use effects to manipulate the audio components of your project. The
included audio plug-ins can improve the quality of the audio in your
project or create unique sounds. Vegas software supports additional
DirectX and VST effects from a variety of vendors. Audio effects can be
applied to all events on a track, to busses, or as assignable effects.
◆ Extensive tools for the creation of 5.1 surround mixes. Keyframeable
surround panning for tracks and busses lets you mix the most
demanding DVD soundtracks without leaving the Vegas environment.
Apply 5.1-channel audio effects to the master bus for enhanced
control over DVD mixes. Export projects as discrete tracks for postencoding, or encode directly to Dolby Digital surround with the
Dolby-certified AC-3 encoder. DVD Architect Pro 4.5 imports AC-3
files for the creation of multichannel 5.1 DVDs.
◆ On-the-fly punch-in recording on armed tracks while playing back
your Vegas Pro project. Record and maintain multiple takes of audio
into an empty track, a time selection, an event, or a combination of
time and events.
www.bhphotovideo.com
◆ Perform tape style auto-input record monitoring with event ASR
parameters applied to the incoming signal. Monitor input signal when
playback is both stopped and during recording.
◆ Includes 19 user-definable timestretch modes that let you choose the
resampling method that best fits your audio material. Select: change
pitch, change length; change length, preserve pitch; or change pitch
and preserve length, by semitones or cents.
◆ You can use scrubbing to scroll playback of your project at varying
speeds. Vegas Pro 8 also has a tape-style scrubber above the timeline
that mimics dragging an analog tape past the playhead.
◆ Use ACID loops in your Vegas Pro project to perform easy video scoring
and audio mixing. ACID loops, or any audio event that has had ACID
metadata assigned to it, will auto-stretch to the existing project tempo.
◆ Change the pitch of ACID loops, or any audio event that has had ACID
metadata assigned to it, via keyboard commands and modify your
audio mix in realtime. Pitch, tempo and stretch amount information is
displayed in timeline events.
◆ In addition to supporting Microsoft Mapper, Windows Classic Wave,
and WDM drivers, Vegas Pro 8 also supports professional-quality low
latency ASIO drivers.
◆ You can use Broadcast wave format files to exchange audio between
audio editors or broadcasting platforms. Broadcast wave format files
are similar to standard .wav files, but they contain additional metadata
including timestamps that tell the software where to add audio on the
Vegas Pro timeline.
◆ Film-Style 5.1 Surround Panning mode supports panning between
pairs of adjacent speakers using a constant power model, and is
optimized for theater-style speaker placement.
◆ Vegas Pro 8 provides real-time downmix previewing of audio from 5.1
surround to stereo, or from stereo to mono, to ensure that your mix
will sound as intended no matter what the destination playback device.
◆ Create complex sub-mixes with bus-to-bus routing. The routing
flexibility provided by Vegas software gives you a more robust structure
for mixing audio projects.
◆ Modify your project's volume, effects, and panning at the sub-group
level. Use bus envelopes to set track effect parameters, volume, and
panning for your entire Vegas project.
◆ Supports the Gracenote MusicID media recognition service. When
you extract audio from a CD, you can now view information the tracks
including title, artist, and song name.
COMPUTER VIDEO
S O NY
1143
VEGAS PRO 8
Capture, Import and Export
Efficient, Professional Workflow
Vegas Pro 8 has extensive capture, import, and
export support for video and audio. It allows
you to efficiently edit and process DV, AVCHD,
HDV, SD/HD-SDI, and all XDCAM formats in
real time, fine-tune audio with precision, and
author surround sound, dual-layer DVDs.
The Vegas Pro 8 interface provides a fully customizable workspace for accomplishing a wide range
of production requirements. Dock multiple windows across multiple monitors, and save your
layouts to fit specific editing tasks; nest Vegas projects within the timeline, customize and save
keyboard commands, and use application scripting to automate repetitive tasks. System-wide
media management produces maximum efficiency. Network rendering saves time by using
multiple computers and networked drive arrays to render complex projects. Vegas Pro software
also supports 24p, HD and HDV editing.
◆ Capture DV from a variety of sources with
automatic scene detection, batch capture,
tape logging, media bins and thumbnail
previews. Print projects to DV tape directly
from the Vegas Pro timeline with NTSC or
PAL color bars, tone, and source file or
timeline timecode windows.
◆ High-quality 2-pass VBR MPEG-2 encoding
for DVD, broadcast, and other delivery
targets. The high-quality DV codec delivers
pristine colors, incredibly sharp images,
artifact-free compositing and unparalleled
recompression quality.
◆ Edit Atrac files and encode to a file format
used by Sony MP3 players, NET-MD players,
and HI-MD players.
◆ Import and arrange multichannel Broadcast
Wave files. These files are used by field/hard
disc recorders such as Nagra, Sound Devices,
Mackie, and Tascam. Vegas Pro 8 provides
a workflow by recognizing time-stamp
information on multichannel files and
working well with these field recorders.
◆ Import multichannel audio from pro
cameras and decks over SDI. Vegas Pro 8 can
treat audio files from these sources as logical
grouped events.
◆ On faster PCs, Vegas can now print to tape
without creating an audio proxy.
◆ Supports HD editing and rendering, includ-
ing output to 1080/60i, 1080/30p, 1080/24p,
720/60p, 720/30p, and 720/24p. Output HD
video to .AVI, .MOV, MPEG-2, Windows Media,
RealVideo, .PNG and .JPEG sequences. Work
with projects up to 2048 x 2048.
◆ Efficiently edit and arrange events on the
timeline via drag-and-drop. Apply real-time
effects, transitions, envelopes, color changes,
reverse, time-stretching and motion effects.
Expertly edit complex SD or HD long-form
projects using mouse or keyboard trimming
along with powerful ripple editing modes.
◆ Playback and edit effects, transitions and
composites on-the-fly without rendering
while viewing each change on a monitor in
real-time. Vegas Pro takes advantage of the
PC's processing power by caching complex
processes or effects directly to RAM for
smooth frame-rate playback and previews.
◆ Projects can be rendered to an iPod®-compat-
ible file that can be transferred using iTunes.
◆ MPEG-2 encode supports I-frame insertion at
timeline markers. By providing I-frames at
timeline markers, a rendered file has precise
chapter and navigation point placement for
DVD Architect Pro4 software.
◆ Customize the layout and positioning of the
◆ Burn projects directly to VideoCD
◆ Master and burn Red Book Audio CD
pre-masters suitable for professional
replication directly from the Vegas timeline,
with ISRC, UPC, and PQ list support.
◆ Create user-customizable scripts for batch
rendering, still image export, timecode export, XML-based project export and see how
Vegas scripting can optimize your workflow.
◆ Supports Windows Media Audio 9 file
format, providing users with high-quality,
low bitrate compression options, including
lossless, CBR, VBR and 5.1 surround audio.
traditional Vegas layout. Dock multiple windows and save up to ten layout configurations for single and dual monitor systems.
Recall a customized window layout for a specific task, and instantly switch to new layouts
during playback.
◆ View the Vegas timeline on both an internal
monitor and an external device (or secondary
display) simultaneously.
◆ Split-screen A/B previewing lets you compare
affected and unaffected video, or compare
the timeline with a clipboard image—all
viewable in real-time on an external monitor
via 1394 enabled hardware.
◆ Use the Media Manager window to search
and manage media assets. Media Manager
maintains a database of your files, including
the attributes, ACID metadata, and tags that
you can assign to classify your audio and
video clips.
◆ Use AAF (Advanced Authoring Format) files
to exchange projects between applications.
◆ When audio and video events are not
aligned, Vegas will highlight the events in the
timeline so you can see synchronization
problems at a glance.
◆ Record track envelope and keyframe
parameters in real-time using a mouse or
external control surface hardware with
touch and latch record modes and automatic
post-record keyframe thinning. Automation
parameter control is available for both stereo
and 5.1 tracks and buses, as well as for video
track envelopes.
◆ Use the Trimmer window to select portions
of a piece of media that can be placed into
events on tracks, and create media subclips
that reference portions of a media file.
◆ Scan your project to quickly find edit points
using new tape-style scrubbing. Control playback of your project at varying speeds. Scrub
using JKL/shuttle or keyboard commands.
◆ Create and edit new keyboard shortcuts,
import a keyboard mapping scheme or save
your current layout for use as a backup.
◆ Instantly reverse audio and video events on
the timeline either as a locked A/V event
group or as independent elements.
◆ Effects packages retain their chain order and
individual plug-in settings so you can quickly
apply desired effects to media.
◆ Expertly edit complex long-form projects
using mouse or keyboard trimming, event
shuffling, as well as advanced ripple editing
modes.
◆ Insert metadata command markers to
launch Web sites during media file playback,
display captions and more.
Vegas Pro 8 Video Editing Software for Windows (Mfr # SVDVD8000 • B&H # SOVP8) .............................Call
(212) 444-6601• 1-800-947-9901• Quick Dial 831
1144
COMPUTER VIDEO
S OR E NS O N
SQUEEZE 5
High Quality Compression Made Easy
Squeeze 5 is the latest version of Sorenson Media’s award-winning compression
and encoding software. In only three quick steps users can select, pre-process, and
compress video for output in a variety of formats and publish directly to websites
or burn to CD or DVD. Squeeze allows users to output content in all popular formats
including: Flash, QuickTime, Windows Media, MPEG-1, MPEG-2 and MPEG-4.
Squeeze 5 offers best in class workflows, the highest quality audio & video codecs,
simultaneous multi-file encoding, and optimized filter presets, along with an
unmatched level of automation. Squeeze requires no in-depth knowledge of
compression formats and allows users to work faster without compromising
quality. Squeeze 5 includes Sorenson Video 3 Pro, Sorenson Spark Pro, Sorenson
MPEG-4 Pro and Sorenson H.264 Pro video codecs. It also supports the On2 VP6 Pro Encoder and Bias Soundsoap plug-ins
(sold separately). VP6 and Soundoap are included as part of Squeeze 5 Pro.
F EATURES
◆ The Squeeze single-pane interface enables
you to compress video without requiring
a detailed knowledge of codecs or
compression settings.
◆ Includes Microsoft VC1 codec for Blu-ray
encoding, high quality H.264 codec,
improved MPEG-1 and MPEG-2.
◆ Audience Presets feature allows users to
bundle preprocessing filters, filter order,
encoding settings and even output
destinations, such as FTP, into a single
custom preset. Squeeze 5 also allows presets
to be sorted by either format or output target.
In addition, a convenient active-search
feature built into the preset lists allows users
to quickly find what they need.
◆ New video filters include Watermarking,
Hue, Saturation, and Sharpen. Enhanced
filters include Inverse Telecine and
Deinterlacing. New audio filters include
Audio Duration and Audio Volume.
◆ Squeeze includes High Definition (HD)
encoding options for AVC/H.264, Flash,
MPEG-1, MPEG-2, MPEG-4, QuickTime,
RealMedia, and Windows Media.
◆ Import digitized video files, reference
movies, or capture from DV cameras. After
importing files, publish video in the format
of choice and have it automatically sent to
an application, to another location on your
network, or uploaded to the Web via FTP.
◆ Works the same on Mac and Windows. Learn
it once and use it on either OS.
◆ Maximum flexibility with advanced controls
of audio/video parameters such as:
audio normalization, contrast/brightness,
de-interlacing, fade-in/out, telecine removal,
video noise reduction, white/black restore
with image smoothness slider.
◆ Sorenson Media FLV player makes it possible
to play and preview encoded FLV files.
◆ Squeeze supports Two-Pass VBR, which
produces higher-quality video than standard
compression while only adding slightly more
processing time.
Squeeze 5 Pro Step-up Features
Squeeze 5 Pro is the industry-leading video encoding tool, enabling users to efficiently re-purpose
video content for web, CD, DVD or applications. Squeeze allows users to output content in all
popular formats including: Flash, QuickTime, Windows Media, MPEG-1, MPEG-2 and MPEG-4.
Squeeze 5 Pro includes Sorenson Video 3 Pro, Sorenson Spark Pro, Sorenson MPEG-4 Pro and
Sorenson H.264 Pro video codecs. Includes the On2 VP6 Pro Encoder and BIAS Soundsoap plug-ins.
It also includes the Complete Squeeze 5 Training DVD.
◆ Squeeze is easy to use for beginners and
pros, and integrates seamlessly with leading
video production applications and finished
work distribution options. Squeeze’s
optimum workflow will minimize the amount
of time spent on the compression task.
◆ Easy to understand layout offers individual
customization and shortcut keys where you
need them.
www.bhphotovideo.com
Squeeze 5
For Windows and Mac.
(Mfr # 20310-31• B&H # SOS5) .....499.00
Squeeze 5 Pro
For Windows and Mac.
(Mfr # 20350-31• B&H # SOS5P) ...599.00
COMPUTER VIDEO
1145
T IF F EN
DFX
Digital Filter Suite Software
Free your creative potential. Choose from a palette of up to1,000 definitive digital filters. Tiffen Dfx
represents a technological breakthrough that both complement and expand the extraordinary creative
control Tiffen optical filters bring to imaging. Unlike
other software, Dfx offer effects that simulate the
extensive range of Tiffen’s world-reknown optical
filters, plus much more! They also provide ease of use,
unmatched performance, tremendous flexibility, and
infinite creative control.
Dfx is offered both as a stand-alone and as a suite of application-specific plug-ins.
The plug-ins seamlessly integrate with today’s popular image-manipulation or
video post-production software. Both the suites and stand-alone are Windows and
Mac compatible. For videographers and editors, a video production version of the Dfx filter suite allows for seamless integration with
today’s most popular post-production software, including Final Cut Pro, Avid Xpress, Adobe After Effects, and other compatible programs.
Dfx Complete Edition (Stand Alone) (Mfr # DFXCMP • B&H # TIDFXCMP) ..199.95
Dfx Plug-in for Adobe After Effects (Mfr # DFXAE • B&H # TIDFXAE) ........599.95
Dfx Plug-in for Avid AVX (Mfr # DFXA • B&H # TIDFXA) ..................................599.95
Dfx Plug-in for Final Cut Pro (Mfr # DFXFC • B&H # TIDFXFC) .......................599.95
SCREEN WRITING SOFTWARE
FINAL DR A F T
Final Draft 7 Script Writing Software for Mac/Windows
The number-one selling word processor specifically designed
for writing movie scripts, television episodics and stage plays. It
combines powerful word processing with professional script
formatting in one self-contained, easy-to-use package. There is
no need to learn about script formatting rules – Final Draft
automatically paginates and formats your script to industry
standards as you write. (Mfr # FD7 • B&H # FIFD7) ............................194.95
SYD Field’s Screenwriting Workshop Tutorial - DVD (Mfr # SYD1NTSC • B&H # FISFSWW)
Available for the first time on video, this legendary course will help you convert your
idea into a properly structured screenplay, one you will feel confident submitting to
film studios and production companies worldwide .............................................................27.95
Final Draft AV 2.5 for Mac/Windows (Mfr # FDAV25 • B&H # FIFDAV25)
Dedicated full-featured scriptwriting software designed for professional writers of
commercials, corporate and training videos, documentaries and presentations.
Unlike standard word processors, Final Draft AV keeps the audio and video columns
automatically aligned when text is added, edited or deleted. There are no complicated
commands to learn and no need to worry about style or placement of text; Final Draft
AV creates a professionally formatted Audio-Visual script in no time..........................134.95
Scriptwriter’s Suite (Mfr # FD7AV25 • B&H # FISWS25)
Includes Final Draft 7 and Final Draft AV 2.5 for Mac and Windows .............................279.95
POWER
PRODUCTION
Storyboard Quick 5
A quick and easy way to
create storyboards for film,
music videos, commercials
and other projects. The
software is simple to use
and features pre-drawn
props, characters and
locations. It lets you import digital photos and
easily output finished storyboards so that you
can collaborate with others on your project.
Storyboard Quick allows you to easily create
professional storyboards, even if you can’t draw
to save your life. It features an intuitive interface
and a plethora of pre-drawn props, customizable
characters and locations for use in your storyboards. It even allows you to import your script
to more easily create a visual outline of your
project before you ever turn on the camera.
Storyboard Quick 5 (Mfr # PPS1005 • B&H # POSBQQ)
For Mac and Windows .....................................289.95
(212) 444-6601• 1-800-947-9901• Quick Dial 831
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