Is the Corporate Market making a shift to large sensor camera shoots? Here at Crews Control we began to see an increase in the number of large sensor camera shoots our corporate video producers were booking, so we decided to look into some of the data we have collected from our location shoots around the world over the past two years. After wrangling the data for our entire large sensor camera shoots across the globe for the past two years we put together this nifty infographic. Is your corporation making the shift to large sensor cameras? Let us know if you are also feeling the shift in the comments below.
Archives for May 2015
Tools for Workflow and Organization
NAB 2015 has come and gone without too much hype of a new cutting edge technology or gimmick to gossip about. Perhaps it is an indication that the industry is ready to settle down and get to work using the tools at hand. There are, however, still some general trends that are worth noting.
First, in contrast to the 3D fad that we experienced a few years ago, UHD or 4K for TV production is definitely here to stay. All of the camera manufacturers have already released 4K cameras (or are about to) from high-end studio models to consumer DSLRs. This is backed with support from 4K/UHD displays, non-linear editing applications (Avid, Premier, FCPX) and streaming encoders. 2015 may not be the year that we see an imperative to move to UHD production, but it is definitely time to start planning for it.
Second, production now applies to any outlet your customer wants to view your content on, without comprising quality. Consumers want to see sharp, crisp, 1080p video every place they choose to – at home, work desktops, tablets or phones. Producers must take this into account when planning and budgeting a production of any level. Effectively, there is no more “it’s just for the web” rationale.
In this article, we’ll focus on some tools that were highlighted at NAB that will make workflow and organization easier for corporate creative teams.
Using Network Attached Storage (NAS) has finally come to the forefront as a way to connect video editors. Fibre Channel SAN solutions used to be the popular and reliable way to network video editors, but NAS technology has surpassed what was previously only possible under Fibre Channel connections. New systems that run on 1GB, 10GB and 40GB connections over copper wire or optical fiber are ready to take their place at the front of the pack.
EditShare is a pioneer in networked shared storage and end-to-end workflow solutions. It has broken new ground with the launch of XStream EFS. This fault-tolerant “scale out” storage system offers enterprise-class storage capabilities and collaboration features to a broad range of production and broadcast facilities at very attractive price points. Designed to support high-bandwidth, high-volume media ingest, transcoding, online collaborative editing and multiplatform distribution of HD, 2K, 4K and beyond, XStream EFS offers multiple levels of redundancy and tremendous scalability – from 10TB all the way up to 5 petabytes (5000 TB).
Also newly announced is EditShare Flow’s updated extension panel for Adobe Premiere Pro Creative Cloud, which gives editors direct access to Flow’s powerful media management tools from within the Adobe Premiere Pro CC application. This in-app integration enables editors to efficiently search across all online and archive video storage locations for clips in the asset management database, view clip thumbnails, modify metadata, and add assets to their Adobe Premiere Pro CC project – all without ever leaving Adobe Premiere Pro CC.
The combination of EditShare storage with the Flow suite of products for Media Asset Management, and Ark for nearline storage to disk or tape, gives production teams a single source of vendor support and maintenance for a complex system that can start with two or three editors and grow to many more.
The GBLabs SPACE line of storage and archive appliances has arrived from the UK with blazing speed. SPACE is simply the fastest NAS storage you will find on the market today, offering a complete line of storage that handles online, nearline, backup and archive.
SPACE provides reliable stream counts for HD, 4K, and uncompressed; even 8K workflows are being run on the platform. The system’s new Core 3 OS provides hierarchical storage management and intelligent storage tiering for the active management of data and media assets. Aging files and completed projects can now be offloaded automatically from online systems onto nearline or tape archive, freeing up capacity for newly ingested material and the latest projects.
Other significant developments include faster and deeper interplay with leading media asset management solutions, class-leading Avid project support, Active Directory integration, and extensive multi-language support.
ProMAX’s Platform Series of high performance workflow appliances was on display at NAB alongside their new Archiving Appliances: Power-Cache and Pro-Cache. ProMAX took the concepts from Cache-A’s products and revived them with new processors, enclosures and optimized heat and cable management.
ProMAX Pro-Cache and Power-Cache archive appliances are designed to provide a simple and reliable solution for creative professionals to backup and restore media from LTO tapes. Easy to install and operate, the systems have been engineered using the latest technology to provide years of fast and reliable archiving. We should see the integration of this technology into the highly successful Platform line during the next year.
The Platform servers are truly workflow appliances, rather than just shared storage. They offer a simple to use interface for both administrators and users, with integrated proxy generation, indexing and tagging, and even rendering for After Effects. They start with the ingenious Platform Portable, and move up to the economical Platform Studio for small work groups, and on to the Platform Online for enterprise work for larger groups and stream-counts.
Avid announced their new ISIS 1000, finally bringing the cost of shared storage from Avid below the $20,000 mark ($17,999 for a 20TB system). For a production team that is all Media Composer and does not need an integrated asset management tool, the ISIS 1000 offers the peace of mind of a single point of support from workstation to storage, color, and sound mixing. The system is expandable to 80 TB.
Archiware P5 Archive / Backup / Synchronize are software tools that enable production teams to easily keep track of their media, without comprising the need for both backup and archive processes. The professional archiving software moves data offline to disk and tape. P5 can be setup within minutes, and works cross platform on Mac, Linux, Windows and Solaris. You can restore data on any platform, as P5 stores it in a platform-neutral format. To ensure high availability, P5 Synchronize automatically detects modified files and synchronizes them to a target destination.
Featured in the Archiware booth this year was Archive Assistant, a handy add-on to Archive P5 that allows editors to confirm edits directly from LTO Tapes. Editors can take control of metadata using the MetaExtract feature to combine and organize metadata from different sources as a part of the archiving ingest. It also automates archiving tasks such as finding non-central footage to archive and creating proxies using Adobe AME.
XenData released their new X2500-USB LTO-6 archive system that connects to notebooks and workstations via USB 3.0. The system includes an external LTO-6 drive with UNITEX USB technology and XenData6 Workstation management software. It is ideal for storing video, audio and image files on high-capacity LTO cartridges. The solution runs on 64-bit Windows 8.1 or Windows 7. For Mac users, the system is compatible with both Boot Camp and VM Fusion.
The X2500-USB is extremely easy to use. Archive and restore operations are always performed using Windows Explorer: the XenData software extends Explorer’s capabilities to transfer files to and from LTO using drag and drop or copy and paste. Files may be archived to LTO from any accessible logical drive letter or network share. Similarly, files may be restored to an available drive letter or share.
NewTek brought some welcome news to NAB for current and future TriCaster owners with the release of TriCaster Advanced Edition. This $1,495 upgrade for all existing TriCaster units supercharges the system with many new features: real-time feeds from internal or external sources into template based graphics; more options for automation with macros, self-detecting inputs, auto-correcting color matching, and intelligent mix/effects settings; faster and greater number of presets for pushing video and stills to social media, YouTube, FTP and more; expanded router support, increasing inputs with an upstream router control for all Pro models; improved streaming encoder; and improved options and rendering for 3D sets.
IPTV and Streaming Encoders
Haivision reinforces the concept of High Quality / Low Latency streaming from point to point over the public internet. It is now possible to link campuses and engage in two-way dialogues without paying for private MPLS lines or third party optimization services.
Haivision’s Makito X encoders and decoders use a proprietary method of Secure Reliable Transport (SRT) to provide end-to-end security, resiliency and dynamic endpoint adjustment based on real-time network conditions to deliver the best video quality at all times. With SRT, you can optimize video streaming across unpredictable networks, like the Internet, by assuring quality-of-service when faced with packet loss, jitter, latency, and fluctuating bandwidth.
Haivision introduced their Media Gateway, which is powered by SRT and provides the ability to aggregate and replicate SRT streams across private and public networks simultaneously. Imagine being able to distribute a live all-hands meeting to offices in New York, London and San Francisco in HD with encrypted security and very low latency over virtually any network.
Cloud Based Editing Becomes a Reality
Adobe has been gradually rolling out a shared assets system called Adobe Anywhere, but many potential users took a step back after seeing the capital intensive investment required in servers and storage to keep it running smoothly.
British upstart Aframe, having started a quiet revolution several years ago as a cloud-based platform for managing and storing video, has made a giant leap forward in announcing their integration with Adobe Anywhere.
Aframe’s central hub handles the storage and management of original native video content, while Adobe Anywhere will provide stream-based editing capabilities to enable the full potential of a truly cloud-enabled workflow. This provides one central place for video, accessible to anyone on the project team with the correct set of credentials. Footage is available instantly in the edit, anywhere in the world, without the need to download the original media.
By embedding Adobe Anywhere for Video within Aframe’s secure cloud platform, users can stream selected assets to the edit. Metadata is kept in sync, so that timecode based markers added by the project team in Aframe are delivered to the editor, and vice-versa.
About the Author
As Director of Market Development, Jonathan works closely with AbelCine’s Integration Services. The department leverages the power of the latest generation of broadcast and communications tools to help configure high-quality, cost-effective production solutions for traditional studio and stage settings, as well as non-traditional venues, and mobile applications. Jonathan also develops business relationships with key clients and helps them take advantage of AbelCine’s integrated service offerings.
Prior to joining AbelCine in 2006 as Director of Production Sales, Jonathan served as Director of Operations for Mega Playground. Previously, he was the Director of Operations for New York Times Television and supported the production of over 250 hours of documentary television production for programs airing on The Discovery Channel, TLC, National Geographic, PBS and Food Network.
‘Winning the internet’ isn’t an easy thing to do. Online trends are unpredictable – the next big thing could be anything from an adorable cat to a stylistic ad for beer.
While it may be difficult to predict what will explode online, the most successful ads and corporate films contain variables that can help you decide what to include in your video before you produce it.
Here are a few examples of videos that won the internet and why:
1) T-Mobile’s #KimDataStash
T-Mobile uses celebrity star power paired with a simple concept and classy humor to sell a great idea. Star power gives the ad a familiar face for viewers to respond to and celebrities always have a strong following that pulls in views.
The simple concept is a key aspect as well. Turning a problem most cell phone users experience (such as left over wasted data) and translating it into a simple joke makes the ad that much more enjoyable. And having Kim Kardashian poke fun at herself grounds her celebrity star power in a much more relatable way, avoiding potential eye-rolls from critics.
2) Budweiser’s Super Bowl #BestBuds
Don’t try to fix something that isn’t broken. The Best Buds campaign has been incredibly successful over the past couple of years due to its combination of humor and adorable puppies.
Rather than trying to improve the concept, Budweiser builds off that success each year by adding little beats to the story world of the video series. This year, Budweiser added a call to action in their ad, which is the best way to get viewers to engage and interact with your brand. Familiarity goes a long way, and is a useful tool to work with when crafting your video.
3) Gatorade “Be Like Mike”
Nostalgia is an obsession of the millennial generation. If they’re your target audience you absolutely need to take advantage of that. Gatorade has done a phenomenal job of doing so. Instead of developing a new ad, they digitally re-mastered one from 1992 featuring Michael Jordan, and it’s been a huge hit online.
This circles back to how star power and familiarity work hand and hand to draw in the audience’s attention. The re-mastered ad also gives off the impression that the company is bold and brave for re-releasing something from their past, which tends to gains a brand the viewer’s respect despite their opinion on the brand’s product.
See the ad original here:
Learn How to Go Viral
The internet is a competitive battlefield for the corporate world. Getting your video to have longevity and appeal is no simple feat, and you’ll need a talented team to put it together. With a roster consisting of experienced and seasoned professionals we can find the right crew for your project. Click here for a free quote, call us at 1-800-545-CREW, and don’t forget to connect with us on Facebook, Twitter, and LinkedIn.
We live in a global society that’s mobile, social media, and video-centric.
This is a digital age where individuals consume content anywhere, anytime on the viewing device of their choice.
It is a time of digital transformation, where enterprise organizations are reaching customers and workers through technology to increase touch points, digitally, and increase business results.
To meet the communication and workplace learning requirements of enterprises, four technologies will have the most impact on the use of video through innovation, advancement, and growth: mobility, social networking, the Cloud, and big data.
Impact and Value of Video Technology
Video represents an overwhelming amount of the content accessed by consumers and people in the workplace. Mobility is projected as the area for the most significant growth. In October 2014, the number of mobile devices exceeded the number of people in the world (7.19 billion). According to Cisco, there will be over 10 billion mobile-connected devices by 2018 and more than two-thirds of the world’s mobile data traffic will be video.
According to Socialmediatoday.com, 93% of marketers use social media for their business and video is a growing part of their strategies. Adding videos to landing pages can increase conversions by nearly 90% according to SocialTimes.
In its 2014 State of the Market report, Verizon states that enterprise spending on the Cloud grew 38% in 2014 and 71% of businesses expect to have public-facing applications in the cloud by 2017. Cisco states in its Visual Networking Index that the sum of all forms of video (TV, video on demand [VoD], Internet, and P2P) will be in the range of 80 to 90 percent of global consumer traffic by 2018 and video will account for 58% of all business Internet traffic in 2017.
Big data is embraced by businesses to track and measure the reactions and actions of targeted viewers: from marketing to sales, learning groups and corporate communications. For example: A study by Animoto states that nearly three-quarters (73 percent) of respondents are more likely to purchase a product or service if they can watch a video explaining it beforehand. Also, a 2014 Aberdeen Group study found that video management solution users are 90% more likely than non-users to measure how specific content performs across various channels (55% vs. 29%).
When these four technologies are integrated with other equipment and capabilities in the enterprise video ecosystem, an organization has powerful strategic communications tools for individuals to interact, collaborate, learn, and improve on the job performance.
here are a few key objectives To help leverage capabilities, effectively increase digital touch points and drive business results,:
First, establish a media business strategy.
The primary purpose is to identify all targeted internal and external audiences. Where are they? What do you want to tell your audience? What do you want them to do?
You should establish a thorough understanding of existing technology and identify the desired state for functionality, capabilities, and workflow.
You should also research and benchmark best practices to meet your companies specific business requirements.
The strategy process should be inclusive of all departments and business units, including executives and stakeholders for marketing, sales, learning groups, media and video communications, as well as IT, telecom and other support groups.
Second, you need to address viewing locations, environments, and devices.
Take into consideration your corporate structure, including type of business and facilities, the number of locations, and whether your model is . customer-facing or behind the counter, rural and/or urban, . domestic or global.
It is important to ensure that the appropriate viewing devices are located in each respective environment, such as computers at desktops and work areas, and display screens in meeting and conference rooms, training centers, and common areas. Also, it is critical to deliver content to a variety of mobile devices for consumption in the field or on the go.
Keep in mind, just as consumers will use devices of their preference to view and interact with video content when, where, and how they choose, employees will expect the same or greater capabilities in their work environment.
Third, blend and leverage digital media channels.
This means leveraging existing infrastructure and systems with the right blend of new and innovative technology. It should include all content capture, creation and origination capabilities, delivery channels and display systems in your organization’s video ecosystem. These include: smartphones and mobile devices, webcasting, video-conferencing and telepresence systems, satellite-based business television and interactive distance learning networks, and digital signage solutions.
This will enable the sharing and viewing of content across institutional, department, and business unit media channels. It should efficiently and cost effectively eliminate or reduce the amount of replicated and unnecessary systems located in silos throughout the organization.
Additional considerations and recommendations include:
- Produce content for viewing on each appropriate screen
- Capture viewer analytics
- Preserve, protect and leverage Company Media Assets
When producing content for viewing on each appropriate screen keep it fresh and relevant. Make it readily available and easily accessible across the enterprise.
You should encourage the creation of employee generated content (EGC) and use the content where appropriate. However, closely screen and manage the distribution of content to protect your company’s brand.
Track and measure the data to confirm that you are reaching the right audiences and that they are actively participating and learning. This will enhance the probability of improving business results.
Training Magazine recognized Jiffy Lube in 2014 as the year’s top training organization. Jiffy Lube found that video and electronic media significantly contributed to its goal of reducing costs and improving customer satisfaction. The company has decreased employee turnover by 45 percent, more than doubled the amount of training hours and improved its employee and manager certifications for 90 percent system-wide.
A good example of reaching the right audiences effectively and efficiently is the Government Training and Education Network (GETN), which serves agencies, such as the US Air Force, Air National Guard, Army, Navy, Federal Aviation Administration (FAA), and Department of Justice. GETN is a cross-functional video network, where the organizations use a common satellite carrier to share distance learning content and facilities. GETN agencies find that the student performance of distance learning users is at least equal to residence classes. However, the recurring costs for satellite transmissions, space segment, audio interaction, maintenance, and personnel are approximately only 20 percent of the cost for residence instruction.
To preserve, protect, and leverage company media assets, implement the digital asset management (DAM) system and process that offers the best digital workflow for your organization. This should be inclusive of all departments and business units across the enterprise.
A large financial institution found workflow efficiencies and cost savings by implementing an enterprise-wide DAM that more than justified the equipment and staffing costs. Other companies, including quick service restaurants, retail, transportation, and service companies have implemented systems to manage the storage, access and protection of historical and meaningful media assets.
How is your organization’s communication and workplace learning requirements being met? Do you have a media business strategy in place to leverage the use of the top four technologies that are projected to have the most impact on the use of video in the enterprise: mobility, social networking, the Cloud and big data?
With just over 7,000 residents, the City of London is one of the smallest cities in the U.K. Despite its size, it is a hot bed for production – especially games, TV shows, music videos, and films. London is an extremely historic and vibrant city with tons of great options for shooting video. Before you hit up high-tea at The Savoy, here’s what you need to know about shooting video in London:
10 – Permits are required everywhere, no exception. In addition to needing permissions to shoot, you also have to be aware of legal limitations of where you’re shooting, which can vary from location to location. No borough is exactly the same when it comes to legal limitations, and some have even outsourced their film liaison office to a separate body that may be looking after more than one borough. Here is a link to ensure you’re following all legal obligations and have the right permissions.
9 – Are you an international crew? You may be operating under a completely separate set of rules. You can check them all out here.
8 – Despite its size, London feels a lot bigger than you think. Check a map for locations of shoots and traffic patterns before you start out. You may think that two landmarks are a hop and skip away, but then find yourself sitting in traffic and missing any opportunity to get your shots.
7 – Be aware of congestion pricing. In a small area of Central London you have to pay £10 to drive through during peak times. You have to pay through a website, and if you don’t you will be slapped with a fine from the government. If you do get fined, there is a three day grace period to pay. There is no subsidy or getting out of congestion charges, so make sure that is factored into your budget.
6 – Some of the best places for B-roll include Borough Market (also known as More London), and a great shot of the city can be seen from the walkway by St. Thomas’s hospital. If you’re looking for shots of city buildings and “traders in suits” check out Threadneedle Street and Lloyds Building. “Brick Lane is a goodie for interesting old houses, cottage industry, old barbers and suit makers, as well as Edwardian terraced housing – but be prepared to walk around to find these things!” shares one of Crews Control’s DPs .. Another great place for B-roll is Notting Hill by the West Way underpass. That’s where you’ll find things like skaters, graffiti art, and shops with quirky store fronts.
5 – Have a backup location in mind. Traffic and traveling in London can get very congested very quickly, so even if you have your day planned to a T you never know what could happen – having a few Plan B locations can help avoid frustrating delays.
4 – The London Eye is also a huge draw for B-Roll, but since it’s sponsored by Coca Cola they require the specifics before giving permission to shoot and quoting a permit fee.. You can find all you need to know about shooting at the London Eye here. The Underground is another gold mine of B-roll, but it’s frightfully expensive. Again we don’t want them to go and get all the permissions themselves but rather hire a local Crews Control crew that knows the area and can share location options that get the look.
3 – A lot of red carpet shoots happen in London. If you’re hired for a red carpet, know that once you’re “locked in the pen” you probably won’t be able to leave. It’s best to have a runner in case you need anything outside the event. Make sure you have plenty of spare batteries as well. Some pubs are willing to charge your batteries for you….for a price (and at your own risk).
2 – London is COLD. Much colder than people who don’t live there realize. Between September and May, be prepared for weather and make sure to bundle up! Otherwise, you’ll wind up like yours truly and buying scarves and gloves from street vendors outside underground stops for £5 a pop .
1 – London is an incredibly supportive city when it comes to film crews. You can apply for funding through the Film Commission, and they’ll offer both money and support for your project from start to finish, including sales, distribution, and exhibition. All information for funding, training, and support is outlined here. Not applicable to our corporate market.
You can accomplish almost anything as a film crew in London…time and money permitting. Before you head over there, make sure you have your permissions (ALL of them) and that all extra costs are factored into your budget.
If you need a crew in London, we have the best and the brightest in our arsenal. Give us a call, let us know what you need through our easy quote form and we’ll match you and your location with the perfect film crew. Don’t forget, you can connect with us on Facebook, Twitter, LinkedIn!
AJA Cion, Sony F55, F5, FS-7, all Black Magic cameras, the new RED Weapon 8k, Phantom Flex 4k, all ARRI Alexa cameras, and even the Panasonic Varicam 35. What do these cameras have in common? How about external recording devices? Sound Devices Pix 240, 260, E5, E7, E5H, Convergent Design Odyssey 7Q, Atomos Shogun, Samurai Blade, Ninja Blade, Ninja 2, Ninja Star, Ronin recorders, AJA Ki Pro recorders.
The answer is Pro Res.
Has Pro Res made a comeback? Quite frankly, it never went away. If you have been a shooter or DP for some years you will remember the days of Standard Definition and going to NAB when the one format was Betacam. NAB and other showcases were places that allowed camera manufactures to show what their cameras could do…but all the cameras did Betacam. As a DP, I was looking for what the camera could do or the special look it gave a project. While other formats such as DVcam and DVCpro existed, the king was Betacam.
Fast forward to the beginnings of HD: this is when the camera manufacturers began to see that placing footage (and all the information that came with it) on their own recording media and codec was a good thing.
The downside is that the information needed to be compressed. The amount of compression varies from codec to codec, and Pro Res had the least amount of compression. We have gotten to a point where there are now over 40 different codecs – not to mention every camera maker uses their own media to record that codec. There really isn’t a problem with doing this, and it’s not unique to our industry. Car companies do this all the time. For example, you often hear them tout “our 4 cylinder engine is better than this one!” – so, now you have several car companies all making a four cylinder motor, and when you decide to buy a 4 cylinder you buy your one and that’s it.
But if you are like me, you have multiple camera packages, and when you purchase a camera you then need to buy the proper media to work with that specific camera. And, chances are you may need to purchase a new media reader too. Let me reiterate: there is no problem doing this! Cameras have different looks and functions that help create the right project for the client. But honestly I can’t ever remember a client asking for a certain camera for its codec, so I have been moving my clients ever so slowly towards Pro Res. The way to do this is by attaching an external recorder to the camera we are using on that project. In the end, the client walks away with the original format from the camera and a copy in Pro Res.
There is a very good reason for doing so.
This is where things get technical.. Full disclosure, I am not a video engineer or even technical. I shoot and I provide content. For our purposes here I will create simple examples to explain Pro Res.
When you record to Pro Res several very cool things take place. First off, Pro Res records 10 bit. The significance? The higher the bit rate, the more colors and texture are recorded. In fact 10 bit has four times more color and texture then 8 bit. When you record on Pro Res you are recording almost all of what your camera sensor is seeing. Imagine, if you will, a Super 35mm sensor recording in 4k and not losing the quality of the image. Your format in the camera is most likely compressing that image to save space in its own codec. The term for this is “lossless” and it is used when talking about Pro Res. A compressed video can degrade when it is processed or re-compressed over and over. Lossless and Pro Res go hand in hand.
Next, let’s talk about color sampling. Pro Res is the best at storing more color information than other codecs. What you are looking for in color sampling is the ability to see sharp distinct shapes and edges within that color. This becomes critical when you are dealing with chroma key and color correction.
It’s important to understand that I don’t advocate using Pro Res to finish your project. I’m advocating recording the original footage on it and edit with it. Then convert to a finishing format of your choice. Pro Res certainly takes up a lot of storage space …but so does shooting in RAW. If you have the time and space it’s better to shoot in RAW; however, oftentimes there isn’t enough time. There are deadlines and time constraints everywhere.
I hear so much misinformation about the ability to use Pro Res in certain types of non-linear edit software. The most common is it will only work with Final Cut Pro on a MAC. This is so wrong! Pro Res works with both MAC and PCs. All you need for a PC is the latest Quicktime software and the Pro Res codec. Pro Res will work with AVID, DaVincini Resolve, Premier Pro, and others.
The photo below showcases one of my cameras in action. This is a Panasonic AF-100 with a Zeiss lens. If I shot this interview with just this camera, that lens and its native codec it would look good on its own, but the codec is AVCHD, which is a highly compressed and low bitrate format. Remember: a low bitrate means less quality…but we shot this interview in Pro Res HQ 10bit.
I’ll walk you through it.
Take a look at that Sound Devices Pix 240 external recorder above the camera. The orange video cable is connected from the HD/SDI out of the camera and going to the video in of the Pix. The blue video cable is going to the client monitor. That Pix recorder is taking that signal and up-resing it.
The result? The client received an intermediate codec with higher color sampling and four times more colors, from a micro 4/3’s sensor and a Zeiss lens.
Why are many in the industry going back to Pro Res? It streamlines the capturing and editing process without too much compression. It provides shooters and DPs with that one thing they’ve always wanted, which is that world of one format or codec. When Panasonic was creating the Varicam 35 they surveyed 200 of the top cinematographers, and one of the questions they asked was, what the one format they liked to use and whether or not should it be in the new Varicam 35. Guess what the answer was? I’ll give you a hint: Panasonic will be installing Pro Res later this year into the Varicam 35 via a firmware update. Ask, and you shall receive.
Pro Res isn’t dead. It never was. It works well in many different film locations and will continue to do so.