EditShare Shared Storage Solutions Compatible With New Avid Media Composer v7.0 Release

EditShare, the technology leader in shared media storage and end-to-end tapeless workflow solutions, has announced that its industry-leading shared storage family of products – EditShare XStream, Energy and Field 2 – is compatible with Avid Technology’s new Media Composer v7.0 release.

A Leader in Media and Project Sharing

Pioneering media sharing for production and post-production professionals, EditShare was the first non-Avid solution to offer Avid Project Sharing and the first shared storage solution in the media and entertainment industry to support 10 Gigabit Ethernet. Continuing its leadership with media sharing, EditShare was the first to offer true Project Sharing for Apple Final Cut Pro and the first to deliver a portable shared storage solution with EditShare Field. At NAB 2013, EditShare announced a development partnership with Adobe, providing deeper integration across the Creative Suite and Creative Cloud product lines.

Support for Avid Media Composer v7.0 Across EditShare Tapeless Workflow

EditShare seamlessly integrates high-performance shared storage solutions (XStream and Energy) with video ingest (Geevs and Flow), media asset management (Flow), and archive and backup (Ark) to offer broadcast and post-production professionals a productivity-enhancing, tapeless workflow on a highly scalable infrastructure.

Highlights of the EditShare tapeless workflow

At the center of EditShare’s end-to-end workflow is high-performance shared storage that offers industry-leading stream counts, infinite scalability, and advanced Project Sharing with patented bin and project-locking capabilities for Avid, Final Cut Pro (v7), Adobe Premiere Pro and Lightworks.

Flow and Geevs record Avid DNxHD, ProRes and other industry-standard codecs direct to EditShare central shared storage and produce proxy files in real time, with optional mirrored and automatic backup to EditShare Ark. During ingest, users can log shots and create sub-clips.

The Flow MAM allows users to view proxy file content on their desktops without requiring access to full-resolution media as well as ingest media from file-based sources such as P2 and XDCAM. Simple editing tools and metadata templates let users add information to clips, make rough cuts, and drag-and-drop clips and sequences into their NLEs.

Ark Disk and Tape offer facilities a tiered storage infrastructure with nearline and offline archiving and backup. Ark systems can scale to multiple petabytes and allow users to browse, delete and restore archived materials (including partial restore) from any desktop on the EditShare network.

Click for more information about EditShare’s XStream systems.

Click for more information about EditShare’s Energy systems.

Click for more information about EditShare’s Field 2 systems.

Blackmagic Design Announces New HyperDeck Studio Pro with 4K playback

Blackmagic Design has announced HyperDeck Studio Pro, a new model of SSD recorder that includes powerful new features such as 4 channels of 3 Gb/s SDI in and out, built-in high-speed Thunderbolt I/O technology, as well as full HDMI and analog in and out including standard XLR connectors for audio and timecode. HyperDeck Studio Pro features dramatically higher processing power and quality which allows full 4K playback from a single SSD disk using Apple ProRes compression that is four times the resolution of regular HD 1080 resolution video. HyperDeck Studio Pro. HyperDeck Studio Pro will be demonstrated on the Blackmagic Design NAB 2012 booth at #SL220. HyperDeck Studio Pro features a beautiful user friendly VTR style design with function buttons, a jog wheel for jog and shuttle, plus external RS-422 control. The high resolution LCD screen displays timecode and transport information, plus a full color thumbnail preview of the current clip in record and playback. Crystal look buttons give customers full transport control just like a broadcast deck.

HyperDeck Studio Pro fits easily into outside broadcast vans or a master control room. It’s perfect for on set recording and viewing of dailies, as a video server or for replays at live events. With new multi channel connections, a high-speed Thunderbolt port and 4K playback, HyperDeck Studio Pro is also perfect for digital signage, and feature film work as the single unit can instantly switch between SD, HD, 2K and 4K playback. HyperDeck Studio Pro records universally compatible uncompressed QuickTime files in uncompressed 10 bit, DNxHD and ProRes compression so the files stored on disk can be used with all popular software packages, such as Final Cut Pro X, Premiere Pro, After Effects, DaVinci Resolve and more. Customers will always be free to use the editing, color correction and finishing tools that they choose and that are best for their clients and jobs.

With 4 x 3Gb/s SDI as well as HDMI and analog inputs and outputs, HyperDeck Studio Pro works with virtually every camera, deck or monitor. 4 x 3 Gb/s SDI allows 4K playback as well as planned multi channel capture and playback as later software updates.

Featuring two bi-directional channels with transfer speeds up to an amazing 10Gbps each, the new Thunderbolt port makes capture and playback to and from any Thunderbolt-enabled computer faster than ever. This means customers get full compatibility with Final Cut Pro X, Adobe Premiere Pro CS6, Avid Media Composer 6, Adobe After Effects CS6, Adobe Photoshop CS6 and more.

HyperDeck Studio Pro Key Features

  • Capture and playback with SSDs in uncompressed 10 bit, DNxHD and ProRes quality.
  • Supports QuickTime format for uncompressed, DNxHD and ProRes files and MXF files for DNxHD.
  • Dual slots so keeps recording onto next disk when one disk fills up.
  • 4 channels of 3 Gb/s SDI input and outputs. Allows 4K playback at 4 times HD resolution.
  • HDMI input and outputs.
  • Analog component, and composite inputs and outputs.
  • Analog audio on XLR connections, and includes additional HiFi RCA audio inputs.
  • Includes timecode input and output connections on standard XLR connectors.
  • Built-in high-speed Thunderbolt I/O technology for computer capture and playback supported.
  • USB connection for software updates and settings.
  • RS-422 deck control for disk recorder control.
  • Ethernet for transport control and setting changes.
  • 1 rack unit size with 110/240V built in power supply.
  • Recorded files and high-speed Thunderbolt I/O connection are fully compatible with Final Cut Pro X, Premiere Pro, After Effects, DaVinci Resolve and more. Includes UltraScope software for real time scopes using Thunderbolt port.

Availability

HyperDeck Studio Pro will be available in July from Blackmagic Design resellers worldwide.

Click for more information about Blackmagic Design’s HyperDeck Studio Pro.

Blackmagic Design Announces Blackmagic Cinema Camera

Blackmagic Design has announced Blackmagic Cinema Camera, a revolutionary digital cinema camera design that includes powerful features such as super wide 13 stops of dynamic range, high resolution 2.5K sensor, built in high bandwidth SSD recorder, open file format support, color correction with full version of DaVinci Resolve and a built in LCD with metadata entry, all in an attractive compact design.

Blackmagic Cinema Camera will be demonstrated on the Blackmagic Design NAB 2012 booth at #SL220.

Many current generation video cameras suffer from a “video look” due to a limited contrast range, a maximum HD resolution sensor, poor quality optics and lenses, the use of heavy video compression for file recording and poor integration with NLE software metadata management. With these limitations, they cannot be used for high end work or feature films.

Blackmagic Cinema Camera has been designed to eliminate these problems so customers get a true feature film look, and at an affordable cost can shoot high end television commercials, episodic television programming and feature films.

Blackmagic Cinema Camera

Blackmagic Cinema Camera includes a super wide 13 stops of dynamic range, large 2.5K sensor, a built in SSD recorder that has the bandwidth to capture open standard CinemaDNG RAW, ProRes and DNxHD files, a built in capacitive touch screen LCD for direct metadata entry, standard jack audio connections, built in high-speed Thunderbolt connection, 3 Gb/s SDI output, a refrigerated sensor for low noise, and is fully compatible with extremely high quality Canon EF and Zeiss ZF mount lenses.

Blackmagic Cinema Camera also includes a full copy of DaVinci Resolve for color correction and Blackmagic UltraScope software for waveform monitoring. UltraScope can be run on a laptop connected to the camera via a Thunderbolt connection.

One of the most important features of the camera is its super wide dynamic range of 13 stops, allowing feature film quality images. Commonly people focus on more pixels, however often this just creates a higher resolution, but still “video” looking images that suffer from highlight and black clipping that limits details.

Blackmagic Cinema Camera’s wide dynamic range eliminates this problem and provides film quality with dramatically more detail retained in black and whites in the image. Once the shoot is complete, the included DaVinci Resolve color correction software can be used to adjust images and take advantage of this extra range in the images. The high quality EF and ZF lens compatibility also helps create sharp and cinematic images that look incredible.

To eliminate the damage that low bit depth and high compression video storage creates, Blackmagic Cinema Camera includes a fast SSD recorder. The built in SSD recorder can record on fast solid state disks the full sensor detail in 12 bit Log RAW files in the open standard CinemaDNG format. These files can be read by all high end video software. The full 2.5K sensor data is stored in the files completely uncompressed because the SSD has the speed to store video data at the required rate. Then this high quality file can be color corrected on DaVinci Resolve for the same high quality result currently only possible on cameras costing tens of thousands of dollars.

Blackmagic Cinema Camera has been designed as the perfect companion to Final Cut Pro X and Avid Media Composer NLE software. Unlike other cameras, which require the use of custom video file formats that are not compatible with popular NLE software, often making the post production process a nightmare, the Blackmagic Cinema Camera includes absolutely no custom video file formats, and every file type included is open standard. It records into Cinema DNG format for RAW files, ProRes and DNxHD for HD resolution files compatible with Final Cut Pro X and Avid Media Composer.

The built in large LCD display makes focus easy, and allows playback of captured files. Blackmagic Cinema Camera includes a built in microphone, as well as external jack based mic/line level balanced audio connections. When playing back recorded clips, a speaker is built in, and there is an included headphone socket, as well as embedded audio on the SDI output and Thunderbolt connection. The SDI output includes all camera data such as timecode, transport control, shutter angle, color temperature setting and ASA information overlaid in attractive anti-aliased fonts.

For easy metadata entry, the built in LCD features fast and responsive capacitive touch screen technology. When the user taps the display with a finger, a data entry window called the “slate” appears. This lets the user enter shot information just like typing on a smart phone. This data is then stored in the files so can be accessed by NLE software when editing content later. Metadata is compatible with popular software such as Final Cut Pro X and DaVinci Resolve. All camera settings can be changed on this touch LCD, such as frame rate, shutter angle, color temperature, dynamic range, focus assist settings and more.

Blackmagic Cinema Camera includes an innovative industrial design built from solid machined aluminum metal which results in an attractive but rugged design. All of the camera, recorder and display have been shrunk down into a lightweight design that’s very portable.

Blackmagic Cinema Camera Key Features

  • High resolution 2.5K sensor allows improved anti aliasing and reframing shots.
  • Super wide 13 stops of dynamic range allows capture of increased details for feature film look.
  • Built in SSD allows high bandwidth recording of RAW video and long duration compressed video.
  • Open file formats compatible with popular NLE software such as CinemaDNG 12 bit RAW, Apple
  • ProRes and Avid DNxHD. No custom file formats.
  • Includes no custom connections. Standard jack mic/line audio in, BNC 3 Gb/s SDI out, headphone, high-speed Thunderbolt I/O technology, LANC remote control and standard DC 12-30V power
  • connection.
  • Capacitive touch screen LCD for camera settings and “slate” metadata entry.
  • Compatible with extremely high quality Canon EF and Zeiss ZF lenses.
  • Supports 2.5K and 1080HD resolution capture in 24, 25, 29.97 and 30 fps.
  • Thunderbolt connection allows direct camera capture via included Media Express software and supports live waveform monitoring via the included Blackmagic UltraScope software.
  • Includes a full copy of DaVinci Resolve 9.0 color grading software.

Availability

Blackmagic Cinema Camera will be available July 2012 from Blackmagic Design resellers worldwide.

Click for more information about Blackmagic’s Cinema Camera.

AJA Releases Ki Pro Mini v4.0 Firmware Supporting Avid DNxHD Video Codec

AJA Video Systems streamlined lens to post workflows with the introduction of its Ki Pro family of portable video recorders. The newest product in that family, Ki Pro Mini has been in high demand, facilitating direct camera-to-edit workflows that eliminate the time consuming video encode step. AJA has released the new v4.0 firmware for Ki Pro Mini, offering support for the Avid DNxHD video codec, enabling further production efficiencies to Avid Media Composer family customers.

Ki Pro Mini is available through AJA’s global network of resellers. Support for the Avid DNxHD codec is available as a free downloadable firmware upgrade.

Click for more information about AJA’s Ki Pro Mini v4.0.

EditShare Redefines Shared Storage

At NAB 2012 (booth SL9012), EditShare — the technology leader in shared media storage and end-to-end tapeless workflow solutions — has announced that all EditShare shared storage systems now include powerful Flow production asset management capabilities plus Ark backup and archiving technology at no additional charge. The new EditShare offering provides productions with a single high-performance collaborative storage infrastructure that includes tools to ingest and store media, log and organize content, and search, manage, archive, and retrieve assets.

About the EditShare Tapeless Workflow

EditShare seamlessly integrates high-performance shared storage solutions — XStream, Energy and the newly announced Atom — with video ingest (Geevs and Flow), media asset management (Flow), and archive (Ark), to offer broadcast and post-production professionals a productivity-enhancing, tapeless workflow on a highly scalable infrastructure. With powerful capture, logging, searching, sequence creation, and project sharing, as well as easy archiving, the workflow becomes streamlined and more efficient. From start to finish, metadata and media are easily searchable and accessible from EditShare central storage or archives. Background processes are also transparent to users, allowing them to focus on their creative efforts.

Highlights of the EditShare tapeless workflow:

  • At the heart of EditShare’s end-to-end workflow is high-performance shared storage that offers industry-leading stream counts, infinite scalability, and advanced Project Sharing with patented bin and project-locking capabilities. Lightworks, Avid, Final Cut Pro (v6/v7), and Adobe Premiere editors can see, copy, and revise the work of colleagues with the assurance that no bins, sequences, or projects will be accidentally deleted or overwritten.
  • Flow and Geevs record Avid DNxHD or ProRes direct to EditShare shared central storage and produce proxy files in real time, with user-level security, mirror copy, and automatic backup to EditShare Ark. During ingest, users can log shots, create subclips, and even create sequences that cut between inputs.
  • The Flow MAM allows users to view proxy file content on their desktops as well as ingest media from file-based sources such as P2 and XDCAM. Simple editing tools and metadata templates let users add details to clips, make rough cuts, and drag and drop clips and sequences into their NLEs — without requiring access to full-resolution media.
  • Ark Disk and Tape offer facilities a tiered storage infrastructure with nearline and offline archiving options and automation capabilities to keep media safe. The forthcoming Ark release being shown this year at NAB promises that facilities can now easily migrate media between different tiers of storage. All Ark systems can scale to multiple petabyes, and when combined with Flow, they allows users to browse, delete, and restore (including partial restore) archived materials from any desktop on the EditShare network.

About the New Storage Configuration

Each EditShare storage model now comes with versions of Flow and Ark that are specifically optimized for the system’s hardware and processing power.

The new EditShare Atom includes:

  • 2 concurrent Flow Browse seats
  • 1 file-based ingest slot
  • Support for up to 1000 hours of proxy files
  • License for management of 10 LTO5 tapes

The new EditShare Energy includes:

  • 5 concurrent Flow Browse seats
  • 1 file-based ingest slot
  • Support for up to 2000 hours of proxy files
  • License for management of 25 LTO5 tapes

The new EditShare XStream includes:

  • 10 concurrent Flow Browse seats
  • 1 file-based ingest slot
  • Support for up to 5000 hours of proxy files
  • License for management of 50 LTO5 tapes

Energy and XStream systems can be augmented with standalone Flow worker nodes for additional file-ingest, scanning, and proxy generation capacity.

Click for more information about EditShare’s Shared Storage.

Lightworks is back. To the future.

After a hugely successful 18-month beta program, EditShare is pleased to announce the official release of Lightworks, the world-class NLE, on the 28th of May 2012.

The hotly anticipated release of Lightworks includes a host of new features for editors, resulting in a lightning-fast NLE that runs on a wide range of PC hardware. Completely re-architected and optimized for multi-platform deployment, this will be the first time a professional NLE has been available for free, with a low-cost upgrade for the pro version.

New Multicore Media Engine

With a brand new Multicore Media Engine, Lightworks now includes support for advanced Long-GOP editing, offering real-time performance for all the main Long-GOP camera formats (H.264 and MPEG-2) and also XDCAM EX, XDCAM HD, AVCHD and HDV.

New Features

  • Very wide format support including AVCHD, H.264, AVC-Intra, DNxHD
  • ProRes, Red R3D, DPX, XDCAM HD 50, XDCAM EX, DVD, BluRay, 4K support (DNxHD available for a single additional payment)
  • Support for all popular camcorder and DSLR video
  • Native real-time title generator
  • Improved interoperability – including AAF with Avid and Editshare Flow
  • Major improvements to Drag-and-Drop in the timeline
  • Trimming enhancements
  • Automatic Edit backups
  • Better Import and Export windows: more options, easier to use
  • Shared Projects
  • Stereoscopic workflow

A new Lightworks website and the Lightworks Community will be launched on the 28th of May.

The Lightworks website has been completely reworked. There will be an Online Store for Lightworks-related products, such as Lightworks keyboards and consoles, and a new Lightworks Community with professional profiles, specialist user groups, community events, multi-lingual chat, messaging, video showcases and a multitude of features that will help Pro users connect and contribute to the creative life of the Lightworks Community.

Availability

Both Lightworks and Lightworks Pro will be available from the Lightworks online store after the 28th of May.

Click for more information about Lightworks and Lightworks Pro after the 28th of May.

Sorenson Media Launches Squeeze Pro with ProRes and DNxHD Support

Sorenson Media has announced the immediate availability of Sorenson Squeeze 8 Pro, which gives video professionals unprecedented workflow functionality and control using the company’s gold-standard video encoding and transcoding application.

For the first time, video professionals can work seamlessly within and between leading professional formats and non-linear editing systems – including the capability to easily output video to mezzanine formats including Avid DNxHD on Windows and Apple OS X systems and Apple ProRes for OS X systems.

Notably, Sorenson Squeeze 8 Pro supports up to 12-bit pixel bit depth, providing users the ability to maintain true, rich colors within their videos.

In addition, the new Pro version of Sorenson Squeeze 8 now includes the ability to encode for Dolby Pro audio along with the standard full support for the most popular video formats, including H.264, Flash, WebM, Windows Media, adaptive bitrate, and DVD Blu-Ray.

Avid DNxHD Encoding with Sorenson Squeeze 8 Pro

Sorenson Squeeze 8 Pro makes it easier for video pros to produce top-quality SMPTE VC3-compliant video bitstreams, simplifies post-production with quicker edits on mezzanine HD formats with Avid DNxHD, and fosters real-time collaboration across platforms. Professional video workflow is further optimized through the ability to export Avid DNxHD files for Avid® editing systems without owning Avid software. In addition, Squeeze 8 Pro offers full support of all Avid DNxHD® bit resolutions up to 10-bit and frame ranges.

Apple ProRes Encoding with Sorenson Squeeze 8 Pro

Sorenson Squeeze 8 Pro enables video professionals on Apple OS X systems to take full advantage of the Apple ProRes family of codecs, including multistream, real-time editing performance and high image quality with reduced bandwidth. Users of Sorenson Squeeze 8 Pro can expand their workflow through the capability to export ProRes files for Final Cut Pro editors directly from Avid, or to create Apple ProRes files for Final Cut Pro editors. Squeeze 8 Pro supports the following format variations of Apple ProRes: 4444 (up to 12-bit), 422 (10-bit), 422 HQ (10-bit), 422 LT (10-bit), and 422 Proxy (10-bit).

Availability

Sorenson Squeeze 8 Pro and all Add-Ons are available immediately. Sorenson Squeeze 8 Pro can be purchased as an integrated video encoding/transcoding application.

Click for additional information about purchasing Sorenson Squeeze 8 Pro.

Blackmagic Design Releases Avid DNxHD Public Beta Update for HyperDeck Studio

Blackmagic Design has announced the immediate availability of HyperDeck Software Update 2.0 Public Beta, a new software update for its popular HyperDeck Studio that adds broadcast quality compressed 10 bit recording and playback to the Avid DNxHD format.

DNxHD is a broadcast industry standard for media files and adding native support for this compressed video format into HyperDeck Studio will allow dramatically longer recording times, lower media storage costs and full file format compatibility with Avid Media Composer systems. All media is recorded in MXF format, so it’s available in Media Composer without any time consuming import processing.

HyperDeck Software Update 2.0 public beta is available and will allow customers to update their HyperDeck Studio free of charge simply by connecting to their Mac OS X or Windows computer via USB. The release of this software will allow customers to get the immediate benefit of this new compressed video mode, and to help check compatibility with various third party software products while the format certification process is underway.

HyperDeck Studio still includes support for perfect quality uncompressed 10 bit video, for the ultimate in high quality, mathematically perfect recording and playback. With this new software update, customers will now be able to choose between uncompressed or DNxHD formats any time they need, depending on the work they are doing. DNxHD recording allows dramatically longer record durations from the same size Solid State Disk (SSD), and even the smallest size 64 GB disk that has a record duration of 6 minutes uncompressed can record for more than 40 minutes when used with DNxHD compressed video. This reduces the cost of using SSDs to a little more than $2 per minute, which is much lower cost than other high end videotape formats, while customers have the added benefit that the SSD can be mounted on their computer desktop for editing direct from the SSD itself.

As HyperDeck Studio records direct to SSDs it offers incredibly fast read and write speeds, so they have the high bandwidth required for full SD or HD recording and playback in both uncompressed and DNxHD compressed video formats. SSDs have the advantage of being used in regular laptop and desktop computers, so are constantly increasing in size, while purchase prices have been dropping dramatically over the last few years. The result is the cost per minute of recording is lower than other broadcast formats, and decreasing more each day.

HyperDeck Studio is the perfect solution to replace aging broadcast decks due to its higher quality, direct file format compatibility with NLE software and easy to use broadcast deck features. HyperDeck Studio allows recording and playback from SDI and HDMI sources, and includes support for RS-422 deck control. Unlike broadcast decks, HyperDeck Studio can record forever because it includes dual SSD slots. This allows a new blank disk to be inserted while recording, and when the current recording disk is full, HyperDeck Studio will seamlessly continue to record across onto the new blank disk. Disks can be swapped constantly for continuous recording.

HyperDeck Studio Features

  • Selectable record and playback to 10 bit uncompressed QuickTime or Avid DNxHD MXF media files.
  • Uses high speed off the shelf Solid State Disks (SSDs) available from computer resellers at low cost.
  • Includes dual SSD slots allowing disks to be changed while recording for unlimited record duration.
  • 3 Gb/s SDI and HDMI inputs and outputs, including SDI loop through and monitoring outputs.
  • Familiar broadcast deck VTR design and functionality, including jog/shuttle wheel and RS-422 deck control.
  • QuickTime and MXF file formats are compatible with Avid Media Composer and other editing applications.
  • 1 rack unit design saves valuable rack space when mounting multiple units.
  • HyperDeck Software Update 2.0 public beta with DNxHD recording and playback features is available now free of charge from the Blackmagic Design web site for all HyperDeck Studio users. Customers simply need to connect their Mac OS X or Windows computer via USB to upgrade their HyperDeck Studio after downloading and installing this update. HyperDeck Studio is available now from Blackmagic Design Resellers Worldwide.

Click here for more information about Avid DNxHD Public Beta Update for HyperDeck Studio.

Sound Devices Adds Powerful Control Features to PIX 220 and PIX 240 Video Recorders

Sound Devices, experts in portable audio and video products for field production, has released an update for its new line of portable production video recorders—PIX 220 and PIX 240. Firmware version 1.03 offers PIX 240 users record stop/start flag support for all major camera manufacturers, plus time code support over HDMI for Sony FS 100 and other Sony NEX cameras. Additionally, Setup Menu customization and numerous other upgrades have been introduced. These new features are available as a no-charge firmware update to all PIX 220 and PIX 240 users.

PIX 220 and PIX 240 connect to cameras with HDMI (plus SDI on the PIX 240) and record directly to QuickTime using Apple’s ProRes or Avid’s DNxHD codec. Since PIX recorders use ProRes and DNxHD, files recorded in the field can be used directly in post production, making the workflow simple and fast. The PIX 240 adds even more flexibility, with its time code and sync generator, and simultaneous SDI and HDMI outputs. Both the PIX 220 and PIX 240 bring the company’s award-winning audio expertise and performance to their video products.

Firmware revision 1.03 adds support for SDI record stop/start flags for Canon, Sony and ARRI cameras. This is in addition to the PIX 240’s existing support for RED and Panasonic cameras. SDI flag support allows users to control the PIX 240 directly from the camera without the need for time code adjustments. What’s more, PIX 240 now supports time code over HDMI for Sony FS100 and other Sony NEX cameras.

With the update to revision 1.03, PIX 220 and PIX 240 offer customizable Setup Menu selections. Users can create default settings and simplify the Setup Menu to help further reduce setup time.

Click for more information about PIX 220 and PIX 240 Video Recorders’ New Control Features.

Blackmagic Design Announces HyperDeck Studio Update

Having been asked by a lot of HyperDeck Studio users about compressed video recording, Blackmagic Design has been working hard and has announced that HyperDeck Studio will support DNxHD recording and playback to MXF files. These are fully compatible with Media Composer 6 and are a broadcast industry standard.

Blackmagic Design is showing this update at their trade show booth at InterBEE in Japan over the next few days, and expects to release it by the end of the month. This update will be available free of charge when released.

HyperDeck Studio can record and play both uncompressed and compressed formats. Compressed video allows for about 4 to 5 times more space on disks so is ideal for long form work.

Click for more information about Blackmagic’s HyperDeck Studio.