Vitec Multimedia | FOCUS FS-T2001 | Slide 1

Slide 1
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Advanced Tapeless
Acquisition Models
Bruce Balmer, CLVS
Jason Levin, CLVS
October 18, 2014
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Slide 2
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Overview
• Digital Video Cameras
– Capture Formats
– Understanding Camera output settings
– Recommended Models
• External Digital Video Recorders
– Understanding Recorder input and recording settings
– Recorders, SD / Proxy Recorders, and Encoders
• Picking the Right System for you
• Post Capture Workflow and Archiving
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Slide 3
What digital formats
are typically captured?
STANDARD DEF
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DV in a AVI-T2 Wrapper
H.264/MPEG-4
MPEG-2
Quicktime
VOB (DVD Disk)
HIGH DEF
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Apple ProRes 422
Uncompressed Quicktime
Avid DNxHD
AVCCHD
AVC-Intra
NXCAM
XDCAM
HDV
H.264/MPEG-4
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Slide 4
Why So Many Formats?
• Mac versus Windows-based platforms
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– Apple ProRes 422
– Avid DNxHD
• Competing camera and recorder
manufacturers
– Panasonic AVCCHD, AVC-Intra
– Sony NXCAM, XDCAM, HDV
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Slide 5
Why So Many Formats?
• Different user requirements
– Superior color/size for movies and broadcast
– Editing ease with less compressed formats
– Proxy files for quick review, editing, and worst case
archiving
– H.264 for archiving and quality/size issues
– DVD versus Blu-ray (SD versus HD) delivery
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• Different chroma subsampling specs
– 4:4:4 versus 4:2:2 versus 4:2:0 versus 4:1:1
– Chroma subsampling requirements should drive what type of
digital video recording system you choose.
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Slide 6
Common Chroma Subsampling Ratios
• 4:4:4
– No subsampling
– Best color
• 4:2:2
– 50% of 4:4:4
– Chroma sampled 50%
• 4:2:0
– 25% of 4:4:4
• 4:1:1
– 25% of 4:4:4
• Apple ProRes 4444,
HDCAM SR
• AVC-Intra 100, XDCAM
HD422, MXF HD422,
ProRes 422
• HDV, AVCCHD, Apple
Intermediate, MPEG2, DVD
• DVCPRO, DVCAM, NTSC
DV
The Anatomy of Chroma Subsampling, Chris “Ace” Gates, Videomaker,
September 2013, Videomaker, Inc., p. 35-38
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Slide 7
What this means to you:
• The common legal video deliverable will use 4:2:0 or 4:1:1
chroma subsampling
• This subsampling leaves less information for color correction,
making white balance more important on the captured video
source.
• Most cameras we recommend record 4:2:0 or 4:1:1 subsampled
video. A few capture 4:2:2, and they’re more expensive. Many
new digital video recorders capture 4:4:4 or 4:2:2 based codecs,
along with 4:2:0.
• You can’t make a 4:2:0 or 4:1:1 source look better by capturing
it on a 4:2:2 or 4:4:4 recorder – the color information is already
gone. It does make it easier to edit.
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Slide 8
What this means to you:
• The HDMI / HD-SDI color space does not always track
the onboard recording codec color space. Check the
manual.
• Unless you’re providing other video services like
broadcast video, wedding video, or news, a more
compressed capture format like HDV, H.264, MPEG-4
or AVCCHD should be adequate for legal video, and
particularly for depositions, for the foreseeable future.
• A smaller source format can actually be archived
without breaking the bank, allowing you to retain
metadata that is otherwise lost in a transcoding
operation.
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Slide 9
Reading the Camera Manual
Step 1 in Creating a System
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Panasonic AG-AC160 Owners Manual, p. 71
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Slide 10
Overview
• Digital Video Cameras
– Capture Formats
– Understanding Camera output settings
– Recommended Models
• External Digital Video Recorders
– Understanding Recorder input and recording settings
– Recorders, SD / Proxy Recorders, and Encoders
• Picking the Right System for you
• Post Capture Workflow and Archiving
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Slide 11
Digital Video Cameras
• Key points
– Capture format
– Capture media
• Number of slots
• Cost per GB
• Media lifespan
– HD / SD versus HD only
• All outputs have date stamping?
• Date stamp positioned correctly?
• Any ports stop working when switching capture formats?
– Low light capability
– What does each port output in terms of formats?
• When you turn one on, what turns off?
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Slide 12
Digital Video Cameras
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• Ports are important!
– FireWire is typically only SD (or HDV). However, if you have a
computer with a FireWire port, you can easily stream to the web
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– HDMI is the default HD port. It’s limited to a cable length of 50’
(15m) if you have a high quality shielded cable, and safer at 30’.
– HDMI may offer different recording options that aren’t available
with the HD-SDI port.
– HD-SDI is the best SD/HD source video port. The maximum cable
length grows to 300’ and the options for attaching professional
video mixers, recorders, and monitors expands. So does the cost of
the devices!
– 3G-SDI supports 1080p capture. The bandwidth requirement is
twice that of 720p/1080i.
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Slide 13
Digital Video Cameras
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HD only or SD / HD
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Capture format
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– Industry still in transition.
– Future proof camera purchase important
– AVCHD
• AVCCHD
• NXCAM
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MPEG-4 / H.264
DV
HDV
MPEG-2
DVCPRO HD
AVC-Intra
AVC-Ultra
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Two formats or one?
– Newest twist is to be able to capture a lower resolution for WiFi and a
higher resolution for final
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Slide 14
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Capture Media
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Card based
– Prices as of early October 2014
$ for 32GB
$ for
64GB
Largest
Size*
Transfer
Speed
$60 - $100
$70-$205
512GB
50-160 MB/s
Media
CF
P2
P2 Micro
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SDHC
SDXC
SxS
$430
$620
64GB
$230
$330
64GB
2 Gb/s
$30 - $50
N/A
32GB
45-90 MB/s
N/A
$40 - $80
512GB
60-90 MB/s
$315
$495-$725
128GB
1.2 Gbps
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1.2 Gbps
Get fastest read/write speed you can afford
Exceed class requirement (speed is cheap)
* Largest size currently available on commercial market
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Slide 15
Digital Video Cameras
• How many GBs do I need for a deposition?
– You should be able to capture at least 10-12
hours of testimony per day OR
– You need to be able to offload the same amount
of testimony per day
– Either
• You can buy enough media
• You develop an onsite offload strategy
• Ref: Camera Manual, Capacity Calculator
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Slide 16
Digital Video Cameras
• Slot Count
– One slot
• Offers no options
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– Two slots
• Simultaneous/Redundant
– Does not address second recording device
– Protects against bad media but not bad source signal
• Consecutive
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– Allows for continuous recording
– Does not account for bad media
– Maximizes utilization of each card
• Dual Format
– Potentially capture multiple formats at same time
– Very limited availability, but where market is heading
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Slide 17
Digital Video Cameras
• Output Ports
– Composite/Video
• Only 480i
• Some cameras do it well, some do not
• Cable quality makes a difference!
– S-Video
• Pretty much gone
– Component
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• Analog versus Digital – not the same!
– FireWire 400 / 800
• Disappearing – only supports HDV in HD
– HDMI
– 3G-SDI / HD-SDI / SD-SDI
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Slide 18
Digital Video Cameras
• Want at least one port for external monitor
– Consider a loop through monitor if you are capturing
SD and want to use this source for a DVD recorder
• Want at least an HDMI port with new camera
• HD-SDI is a great upgrade
– Secure coupling
– Will travel long distances without boosting signal
– Easy to add HDMI or HD-SDI port(s) with converters
from various companies
• http://bit.ly/LVCameras
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Slide 19
Digital Video Cameras
• Canon
– MPEG-2 Long GOP MXF
• Yeah but cameras
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– XF100
– XF105
• XF300
• XF305
– MPEG4/H.264
• Yeah but cameras
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– XA10 (records date and time on media)
– XA20/XA25 (records date and time in meta data, not on media or
screen)
– Note:
• These cameras shoot hh:mm, no seconds
• If you live in MI, PA, WI, CA – think twice
• Not on official CLVS Legal Video Camera list
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Slide 20
Digital Video Cameras
• JVC
– GY-HM600 ProHD
– GY-HM650 ProHD
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XDCAM Long GOP MOV (HD), AVCHD, H.264 (SD)
Can deliver wireless video to attorneys in depo -- futureproof?
HD-SDI and HDMI connections
Two SDXC/SDHC Slots (can record to 2 different formats simultaneously)
Can output time/datestamp
XDCAM requires special viewers / codecs
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– GY-HM850/890 ProHD
• Separate lens
• JVC cameras represent where the market is heading. Multiple
format capture, FTP capability, great recording codecs.
• The 850/890 are at the upper end of the normal legal
videographer’s price point.
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Slide 21
Digital Video Cameras
• Panasonic
– AVCCHD/DV
• AG-AC130a, AG-AC160a
• AG-HMC80
• AG-AC90a
– Be very careful – you can only deliver widescreen video with this
camera. Cannot crop to SD due to placement of datestamp
– AVC-Intra/DVCPRO HD
• AG-HPX250, AG-HPX370
– The AG-AC160a is the best bang for the buck, period, if
you’re focused on deposition capture, due to it’s recording
codec, optics, and port options. The AG-AC130a is HDMIbased and another good option. The AG-HPX250 has
suddenly gotten inexpensive – and maybe worth considering.
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Slide 22
Digital Video Cameras
• Sony
– AVCHD/AVCHD 2/MPEG-2
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• HXR-NX5U NXCAM
• HXR-NX3 NXCAM
– New Release HXR-NX3/1
– The NX5u and NX3 are well-valued and
excellent for deposition work. The NX3 has
more recording options. The NX5u has HDSDI ports. The NX3 has simultaneous dual slot
recording. Neither supports FireWire capture.
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Slide 23
Overview
• Digital Video Cameras
– Capture Formats
– Understanding Camera output settings
– Recommended Models
• External Digital Video Recorders
– Understanding Recorder input and recording settings
– Recorders, SD / Proxy Recorders, and Encoders
• Picking the Right System for you
• Post Capture Workflow and Archiving
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Slide 24
Capture Media
External Digital Video Recorders
• External recorders add SSDs to the mix, along with
multiple codec options
• Solid State Drives
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– Prices as of mid-September 2014
• 240 GB
• 480 GB
• 960 GB – 1TB
$115 - 200
$180 - 270
$450 - 700
– Interface, mean time between failure (MTF) all issues
– Prices constantly coming down
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• Down from $1 per GB to <$0.50 per GB
– SSD devices typically needed with 4:4:4 / 4:2:2 recorders
– You may need capacity more than you think
– There’s a difference in quality
• Rely on manufacturer’s recommendations
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Slide 25
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Slide 26
External Digital Video Recording
• http://bit.ly/LVRecorders
• Three methodologies
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– Same brand external recorder (Sony)
– External encoder attached to computer
– External digital video recorder
• Output specs (not format) from camera must match
input of recorder
• Dedicated recording device versus
computer/appliance recording device
– External encoder with PC most flexible, least robust
• Portability on and off tripod
• Leverage the additional recording format
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Slide 27
Look for Output Format in
Specifications
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Slide 28
I-Frame
HDMI HD-SDI Recorders
• Some incorporate a monitor, saving the cost
of buying an HD monitor for your new HD
camera.
• Weigh image quality/captured file size/cost
• You must be able to match the output specs
of the camera with the input specs of the
recorder.
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Slide 29
I-Frame
HDMI HD-SDI Recorders
• External I-Frame digital video recorders
– Just because your recorder records 4:4:4 doesn’t
mean your camcorder exports 4:4:4 (or 4:2:2)
• Recording a 4:2:0 or 4:1:1 signal on a 4:4:4 recorder
doesn’t add information back into the signal. Once it’s
processed and discarded it’s gone.
• It is easier to edit
– Lower cost – less format options
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• Low end BMD Hyperdeck Shuttle is nicely priced, but
without updates may not be a good choice.
– “Uncompressed” means very large files
– Large files don’t need to hang around a long time if
this is your redundant recording device!
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Slide 30
I-Frame
HDMI HD-SDI Recorders
• External digital video recorders
– AJA Ki Pro family
– Atomos Star*/Ninja/Ninja2/Ninja
Blade/Samurai Blade family
– Blackmagic Design Hyperdeck family
– Convergent Design Odyssey7
– Sound Devices PIX 240i
– Vitec Multimedia FS-T2001
* Atomos Star uses proprietary C-Fast cards – 128GB
max
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Slide 31
AJA Ki Pro Mini
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BHphotovideo.com
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Slide 32
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Atomos
Ninja 2
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BHphotovideo.com
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Slide 33
Atomos Ninja Star
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atomos.com
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Slide 34
Atomos Samurai Blade
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atomos.com
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Slide 35
Sound Devices PIX240i
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www.talamas.com
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Slide 36
HDMI / HD-SDI /Thunderbolt
Computer-based External Encoders
• External digital video encoder with computer interface card,
Thunderbolt, or USB port
– Attach to computer via USB 2.0, USB 3.0, Thunderbolt, or
PCExpress card
– HDMI, HD/SDI, Analog Composite/Component
– HD or SD capture to internal / external computer HD
– H.264, Apple ProRes, Avid DNxHD formats
– Windows 7 or Mac OSx
– Blackmagic Design H.264 Pro Recorder, UltraStudio Mini
Recorder, Intensity Shuttle, Express
– Matrox MX02 family
– Inogeni Converter
– Buy the right computer to support the recorder/encoder
– Some create really big files, while others don’t.
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Slide 37
Blackmagic Design
H.264 Pro Recorder
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Works great – but not with Dell computers
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Blackmagicdesign.com
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Slide 38
Blackmagic Design Intensity
Shuttle for Thunderbolt/USB 3.0
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• Great quality capture – large files to manage
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Blackmagicdesign.com
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Slide 39
Blackmagic Design UltraStudio
Mini Recorder with MacBook Air
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Here’s an interesting solution from ScopeBox, a software capture application
that also offers various scopes for QC. It combines an 11” MacBook Air with
Thunderbolt connectivity and a BMD MiniRecorder. Very high quality
recording, plus quality control, under $1500! BIG FILES! Add Edit Ready!
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Slide 40
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Matrox MX02 LE
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bhphoto.com
• Comes in different versions. The more you
spend, the more port choices you have
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Slide 41
INOGENI HDMI/4K
to USB 3.0 Converter
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HDMI output using USB 3.0 computer port
Windows, Mac, Linux
Lightweight and very portable
USB 2.0 not supported
~$400
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Slide 42
HDMI / HD-SDI /FireWire
Long GOP / Proxy Recorders
• External digital video recorders
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HDMI, HD/SDI, FireWire, Analog
AVCCHD, HDV capture, some SD capture
H.264, HDV, DV, MPEG-2 capture formats
P2, CF cards, SDHC cards, internal drives
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Slide 43
HDMI / HD-SDI /FireWire
Long GOP / Proxy Recorders
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Datavideo DN-60, -600, -700; HDR-60, 70
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Hauppauge HD PVR Rocket
Matrox Monarch HD
– DN series: SD/HDV; HDR series: HD/SDI
– Stream and/or capture HD only
– Multiple media supported
– Feels like a little computer that is designed to capture / stream video
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Panasonic AG-HMR10
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Vitec Multimedia FS-H200 Pro
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Vitec Multimedia FS-H60/70 Proxy Recorders w/WiFi
•
Interesting balance of enough quality, compact file size
– HD only – but can output a downconverted SD signal
– Can add a date stamp to the captured media, which is very unique
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– FireWire SD or HDV– if the camera has HDV
– Nice progressive premium HD recording setting.
– SD recording not really usable for legal video deliverables
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Slide 44
Datavideo HDR-70
Rack-Mounted HD-SDI Recorder
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Uses proprietary 250/320/500 GB drives
Easily record 35-70 hours per drive
Robust design
Records HD / SD
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Slide 45
Hauppauge HD PVR Rocket
• Encodes MPEG-2 TS files on laptop, MPEG-4
on USB Media
• HDMI/Component/Composite/S-Video inputs
• HDMI/USB outputs
• USB-powered
• Consumer Grade
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– Designed for Video Gamers
• $139.00 as of September, 2014
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Slide 46
Hauppauge HD PVR Rocket
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Pros:
• Inexpensive
• Wide Range of Inputs
• Compact
• User Friendly Software
Interface
Cons:
• Consumer grade
• No SDI or Firewire
• One Button Operation
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No Pause Mode
Plastic Housing
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Durability/Reliability
Non-standard framerates
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Slide 47
Matrox Monarch HD
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Matrox.com
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Slide 48
Panasonic AG-HMR10
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• External recorder
with datestamping
capabilities.
• HD-SDI HD input only
• HD-SDI or HDMI output
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Panasonic.com
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Slide 49
Vitec MultiMedia
FS-H70 Proxy Recorder
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www.holdan.co.uk
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Slide 50
Vitec MultiMedia FS-H200 Pro
• Compact flash
• HDV HD or AVI
• FireWire only
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bhphotovideo.com
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Slide 51
The Questions Bruce Always Asks
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What camera are you using?
What ports do you have available to you?
What format are you capturing on your camera?
What format spec gets pushed out when you capture that
format?
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• What recording devices can accept that format?
• If you have your heart set on one and it doesn’t accept the
format out of the ports you have available, are you willing to
convert the format to another type (HDMI to HD-SDI)?
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• If you’re connecting to a PC, is it properly optioned for this type
of capture? Memory? OS? Port type? Disk speed and capacity?
• Do you have software to process the captured format?
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Slide 52
Dealing with Card Workflows
• Expect using multiple cards for longer
depositions
– It’s typically a cost or quality issue, not a tech issue
• Get all media loaded to one location in one
way or another to be efficient in the post
production process
• Here are three ways to deal with this step:
– Dump the files to a card storage unit
– Stack card readers together
– Copy files to computer-attached external drive
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Slide 53
Card Backup/Storage
Nexto DI ND2901
• If you use CF or SDHC/SDXC
cards, consider Nexto DI
ND2901
– Cost effective appliance that
manages downloading of CF and
SD cards in field.
– USB 3.0 connectivity
– Puts all data files on one device,
making rapid transfer of assets
easy and efficient
– $399-499 for 500 GB – 1 TB
– Other models available for most
media cards
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Slide 54
Lexar Professional Workflow HR1 Hub
• Four-bay USB 3.0 Reader
Hub with interchangeable
reader design
• Great for takes that span
multiple cards
• Process entire day’s job
without switching cards
• About $150 for base and 4
pods
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Slide 55
Imagine Products Shotput Pro
• Software manages offloading
process, allowing for rapid,
redundant, and verifiable
copies to external drives
• Windows or Mac versions
• Feel comfortable reusing cards
• Use internal / fast card readers
– USB 3.0 / Thunderbolt
• $99
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Slide 56
Overview
• Digital Video Cameras
– Capture Formats
– Understanding Camera output settings
– Recommended Models
• External Digital Video Recorders
– Understanding Recorder input and recording settings
– Recorders, SD / Proxy Recorders, and Encoders
• Picking the Right System for you
• Post Capture Workflow and Archiving
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Slide 57
Picking the Right System
• Match the camera and recording formats to your
needs
– Deposition work leans towards more compressed
formats
– Day in the life supports less compressed formats so
edits and color correction are easier
• Match the output formats and ports of the camera to
the input formats and ports of your recorder.
– Cables are a pipe
– The output format has to match the input format for
many of these systems to even recognize the signal.
• Make sure your encoding system and computer can
handle any format you decide to use
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Slide 58
Picking the Right System
• Don’t fall in love with a camera without falling
in love with a recording system at the same
time.
– Without planning, you’ll either be buying
converters and a new recorder or camera sooner
than you want.
• Make decisions on what you want to archive
– Captured media or transcoded deliverable
– You just can’t archive 4:2:2 cheaply
– Big files are a great choice for a redundant
source…you can throw them away after you know
the deliverable is good.
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Slide 59
Workflows in NLEs
• Google “FORMAT workflow in NLE”
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• Workflow guides for several high-end cameras and
formats in Premiere Pro and After Effects
– http://adobe.ly/Np5Y9w
• Final Cut Pro 7 Professional Formats and Workflows
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– http://bit.ly/UMdRGD
• HDV Workflow in Vegas
– http://bit.ly/PcZ1Xu
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Slide 60
Ingesting Original Digital Media
• Many NLEs handle camera digital files differently
than a tape file that has been digitized.
– Terms like Log and Transfer, versus Import, are often
used.
– The files must remain in their captured folder structure
in order for the NLE to ingest them properly.
– Included in this “special handling required” structure
•
•
•
•
P2/SxS
AVCCHD/AVCHD/AVC-Intra
Some digital video recorder files
Some cameras have special stitching software to join split files
• Software encoders – extract manually, understand
issues
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Slide 61
TMPGEnc Video Mastering
Works 5.0
• Standard Definition Card Media Import
• High Definition Card Media Import
• DVD Import
– All are slightly different
– Do not copy just the video files. Always copy the
entire contents of the card or DVD to a folder
• Use the Source Wizard to import video
• Avid DNxHD is not understood.
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Slide 62
Archiving Original Media
• Performing an archive of all camera-original material is
highly recommended.
• Copying individual clips via Windows Explorer or the Mac
Finder, etc., may result in unusable media on the target
drive. When archiving the contents of either memory cards
or drives, always copy the entire contents of the volume,
including all ancillary files.
• Create a standardized root file with date, name, and card
number (CD01, for example) and copy entire contents of
media to root file
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Slide 63
Archiving Original Media
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• Single Disk
– Store multiple versions on different drives
• RAID
– RAID2/5/6, including JBOD
– RAID issues
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• LTO (Linear Tape Open)
– LTO-6 drive with LTO-5 (1.5 TB) media
• LTO 6 Media now $80 for 2.5 TB
– Looks like a drive on the file directory
– $$$ drive ($3k), cheap media (<$50/1.5 TB)
– LTO 6 / tapes are 2.5 TB uncompressed, 6.25 TB compressed
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• The Cloud
– Certain types of videos may become an issue with the Cloud and
HIPAA rules. Secure sites preferable
• You need to check the integrity of the files (once every two years).
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Slide 64
Summary Review
• Digital Video Cameras
– Capture Formats
– Understanding Camera output settings
– Recommended Models
• External Digital Video Recorders
– Understanding Recorder input and recording settings
– Recorders, SD / Proxy Recorders, and Encoders
• Picking the Right System for you
• Post Capture Workflow and Archiving
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Slide 65
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Bruce Balmer, CLVS
legalvideo@compuscripts.com
Jason Levin, CLVS
jason@virginiamediagroup.com
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