SPONSOR NEWS
December 6, 2024
Fifty Frames Pushes the Boundaries of Live Event Production with Help from AJA Gear
Trained to expect the unexpected, Fifty Frames (GmbH) Founder Christian Heinzel sees every live event production or installation as an opportunity to embrace emerging techniques and confront challenges head-on. It's something he puts into practice nearly every day as owner of a boutique shop that's trailblazing 4K HDR and IP live event production and video streaming workflows for luxury car brands, bands, and major corporations across Europe. While his team is unafraid of a challenge, they've come to depend on AJA gear to provide a level of certainty in high-pressure environments. It's one of many reasons, Heinzel says, they regularly employ technology like AJA Ki Pro Ultra 12G recorders, FS-HDR real-time HDR/WCG converters, and KUMO 3232-12G SDI routers across projects.
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Capturing the Unseen: A Secret UltraHD HDR recording
Fifty Frames recently covertly produced an UltraHD HDR concert for a German punk band, designed to prevent performance anxiety the band previously felt when made aware of concert recordings. The three-day event took place on a former airfield in Berlin and drew in an audience of more than 150,000 fans. Upon receiving the first stage and LED screen drawings, Heinzel realized the event’s massive scale. Recognizing the nontraditional nature of the concept and use of UltraHD screens, he opted to produce in UltraHD and tap into HDR to ensure more striking visuals.
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"The lighting situation was quite complex, and we knew it would include changes from bright to dark and a lot of effects that you normally don't see. SDR wasn't an option because we’d need camera shaders all the time, whereas, with HDR, we knew that we'd get a bigger dynamic range so we could see all the light, but it wouldn't come across as overexposed," he explained.
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Due to the clandestine nature of the recording, his team strategically placed the ten remote and broadcast-grade cameras out of the band’s sight lines. Over the course of the three-day production, the team collectively captured 75 terabytes of footage from the cameras using 14 AJA Ki Pro Ultra 12Gs. "The Ki Pro Ultra 12G was an easy choice," Heinzel recalled. "It's reliable, affordable, and flexible. I can record eight HD camera feeds with just two units, saving rack space. Plus, I don't need a specialist to operate it."
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Heinzel's team then color-matched the mix of remote and broadcast-grade cameras using AJA FS-HDR. Heinzel noted, "FS-HDR is a brilliant tool for color matching cameras; it's truly a Swiss Army knife for color conversion."
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Finding unique solutions to unique challenges ​
Heinzel and his team have tackled many other outside-the-box productions as well. While previously working on an HDR live event project for a major car brand in Frankfurt, they realized their media servers only had HDMI and display port outputs, so they couldn't transport the HDR signal. Together, Heinzel and his colleague Oliver Derynck came up with a solution: if they could convert the signals of the media server to 12G-SDI and run it through an FS-HDR, they could then tell the signal it was HDR and run it through the switcher. "We tested it out, and it worked, so we were able to retain the HDR metadata," Heinzel explained. "FS-HDR helped provide a simple solution to a complex challenge."
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For the occasional augmented reality (AR) project Heinzel’s team encounters, he’s built custom real-time rendering machines with integrated AJA Corvid 44 12G cards for I/O. “We’ve done a few AR projects with Zero Density, and they’re a lot of fun, even though the workflow is different," he explained. "Our systems for these are presently baseband SDI, but the goal is to move them to SMPTE ST 2110.”
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Marching toward an IP future
As Fifty Frames continues to innovate across client productions and studio installs, Heinzel is looking to SMPTE ST 2110 to simplify the transport of uncompressed media. He noted, “SMPTE ST 2110 will enable us to work with high bandwidth media as we would with SDI, with no compression, while introducing many benefits, from a reduction in equipment to substantial power and performance gains. Less equipment means a lighter load for travel, and with the right IP router, I can easily get 400 UltraHD signals using a 1RU device, which is amazing. Next year, I think we’re going to see a lot more SMPTE ST 2110 products surface.”
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For the time being, he plans to continue maximizing his KUMO 3232-12G SDI routers to support routing needs across projects. Heinzel concluded, “KUMO 3232-12G provides an affordable way for us to get signals where they need to go, whether to the shaders or for monitoring needs; it does what it’s supposed to do well, and it’s reliable. The usability is also perfect. You don’t have to study the manual in-depth to operate it. That’s important because my team doesn’t have time to fiddle around with equipment. We need our gear to work.”
November 15, 2024
Framefloor Evolves Creative Workflows with AJA Gear
Creativity and technology coalesce at Framefloor, a boutique creative shop where experimentation with technologies like augmented reality (AR) and high dynamic range (HDR) is highly encouraged. Based out of Cologne, Germany, its three-person crew provides motion graphics, editorial, animation, and other services to deliver incredible audience experiences for a range of corporate and sporting events and film projects. Producing highlight reels and promo materials for events is often part of the job and requires heavy editorial and graphics. To view, monitor, record, and playback content for this work, the studio uses AJA Io 4K Plus and Ki Pro Ultra 12G.
A custom workflow for every project
Framefloor’s workflow varies depending on the project and scope. If shooting and editing a single interview, Framefloor Creative Markus Bledowski might record footage in-camera. Alternatively, he may opt to ingest it into a portable MacBook Pro laptop equipped with an external monitor and an Io 4K Plus. This setup allows him to view the footage and complete editorial through color correction. After the customer has reviewed the content, he’s then able to confirm that the footage is graded correctly and export the cut into whatever format is required.
“This kind of monitoring setup is necessary, especially as we move toward HDR workflows and need a way to go from HDR to SDR or auto-adjust SDR streams,” Markus Bledowski explained. “It ensures I have SDR and HDR compatibility to get the best quality output, which is crucial when working with HDR or Log content. I’m only able to achieve it with technology like the Io 4K Plus.”
When a project involves several cameras, the Framefloor team may instead capture feeds via a Ki Pro Ultra 12G recorder or record the footage to SD cards in the cameras. For video highlights and reel work, they often remotely plug into the broadcaster or venue server to acquire live camera feeds directly into Framefloor’s server. The team feeds that footage into their mobile workstations, which include Io 4K Plus boxes that help output the content to external monitors for color grading and clipping. They usually have a 16-channel audio output, so they must also mix those channels and add voiceovers, graphics, and color before export. Once they complete graphics, they edit and color the highlight reels and then export them to the server for broadcaster access.
If a broadcaster needs to play out directly from a timeline, Framefloor employs a similar approach, but if they’re preparing content for advertising and promotional purposes post-event, they might just export an MXF file to the server. For live corporate product launch events, Framefloor may also opt to use a Ki Pro Ultra 12G for video recording and playback. In this scenario, the team would record multiple HD feeds, obtain the recordings, and then ingest them into their edit suites.
Finding the right technology fit
For Markus Bledowski and the team, finding the right gear to deliver the results clients expect is paramount. He explained, “We need reliable, solid, and portable solutions to do our job right, and AJA delivers all three. They make high-quality gear that provides exceptional performance, and I never have to worry about the setup because of the flexible input and output options on the I/O devices. Instead, I get to focus on the creative.”
Also sharing his experience with Ki Pro Ultra 12G, Markus Bledowski concluded, “Ki Pro Ultra 12G makes it easy to bring material into our workstations, even HDR and higher resolution content, because of the 12G-SDI connectivity. It helps us produce standout content consistently for clients. AJA’s regular software updates for both products are also helpful and a welcome bonus.”
About Io 4K Plus
Io 4K Plus is a cutting-edge capture and output solution available over Thunderbolt 3, offering a full set of professional video and audio connectivity with support for the latest 4K/UltraHD devices, high frame rate, high dynamic range, and deep color workflows. Thunderbolt 3 connectivity enables Io 4K Plus to handle various formats from SD to HD, UltraHD, and full 4K with frame rates up to 60p over both 12G-SDI and HDMI 2.0 via a single cable, plus HDR support over HDMI and SDI for the latest HDR workflows. Complementary AJA Desktop software releases are optimized for Apple silicon-based systems. www.aja.com/io-4k-plus
About AJA Ki Pro Ultra 12G
Ki Pro Ultra 12G is a multi-channel Apple ProRes recorder offering up to 4-Channels of simultaneous HD recording, or in Single-Channel mode, a 4K/UltraHD/2K/HD Apple ProRes or Avid DNxHR recorder and player. Avid DNxHD MXF is also supported up to HD formats in Single-Channel mode. Ki Pro Ultra 12G offers 12G-SDI single cable simplicity for large rasters up to full 4K, (the 4x 3G-SDI inputs/outputs can be used for Quad Link operations as required) and HDMI 2.0 digital video connectivity with HDR support for both recording and playback. A wealth of analog and digital audio connectivity answers any project’s demand for efficient, powerful, and flexible workflows. For distance and remote needs, 12G and 3G Fiber SFP+ options are available. Ki Pro Ultra 12G also offers the ability to record genlock-free sources with frame sync support on inputs. Designed to be either portable or rack mountable with half rack wide, 2RU high dimensions, Ki Pro Ultra 12G is well suited for use in any environment. www.aja.com/ki-pro-ultra-12g
September 13, 2024
AJA Debuts New Products and Updates at IBC 2024
Advancements deliver flexible, cost-efficient solutions for IP, high resolution, and high dynamic range workflows; streamline data management and transfer
Amsterdam, Netherlands, IBC Conference Stand 7.B19 (September 13, 2024) – Reinforcing its commitment to engineering solutions that address emerging IP, live production, and data management workflow demands, AJA unveiled a host of new products and updates at IBC 2024. Visitors to the AJA stand (7.B19) will be able to explore AJA’s next-gen KONA IP25 video and audio I/O card featuring bi-directional SMPTE ST 2110 support, the OG-ColorBox color management and conversion device for live production, a feature-packed v3.0 ColorBox update, and an OG-C10DA openGear distribution amplifier card. AJA will also showcase Diskover Media Edition updates at IBC, including new plugins for PixitMedia’s Ngenea data orchestration solution and Spectra Logic’s RioBroker, and v2.3 software improvements.
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“Advancements across broadcast, production, post, streaming, and proAV pipelines are enabling professionals to create and deliver more compelling content for audiences, but they also introduce new bottlenecks for teams. As more facilities, venues, and professionals embrace IP and higher resolution, high dynamic range workflows, we’re working to deliver solutions that address those challenges,” shared AJA President Nick Rashby. “Our IBC lineup this year includes tools that streamline the transition to full and hybrid SMPTE 2110 ecosystems, solutions that make color management more accessible, and much more. We’re thrilled to share them all with the community at IBC.”
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KONA IP25
AJA’s next-gen IP video and audio I/O card, KONA IP25, boasts 10/25GbE SFP connectivity, multichannel UltraHD support, and other features that match the demands of full and hybrid SMPTE ST 2110 ecosystems. Designed for broadcast, TV/film, truck, venue, studio, school, HOW, greenfield station, and post environments, as well as AJA Developer Partner solutions, the 8-lane PCIe Gen 4.0 card streamlines adoption of the latest IP standards. It provides uncompressed bi-directional SMPTE ST 2110 support, is compatible with many third-party creative and streaming apps, and will be available through AJA’s worldwide reseller network in Q4 for $6995 US MSRP.
OG-ColorBox and a new ColorBox v3.0 update
Designing AJA ColorBox’s powerful color management and conversion toolset and intuitive web UI into an openGear form factor, the new OG-ColorBox delivers ultra-low latency, high-density 4K/UltraHD high dynamic range (HDR) wide color gamut (WCG) video processing, extensive HDR/WCG conversion options, color correction, and custom LUT processing for live production. It gives professionals the confidence to meet nearly any live production color needs, from color correcting specialty cameras to processing camera Log, real-time SDR/HDR transforms, and beyond. OG-ColorBox will be available in October through AJA’s worldwide reseller network for $1995 US MSRP.
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Also coming this October, a free ColorBox v3.0 update on the AJA Support Page will bring users new improvements such as a SDR to Dolby Vision Preview mode, ARRI Alexa 35 LogC4 Wide Gamut 4 WVO support in Live Mode via the Colorfront license, a configurable ACES AMF pipeline, support for .CLF and .CTF files, and the ability to configure the SDI and HDMI outputs for color space and bit depth.
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OG-C10DA
A hot-swappable openGear distribution amplifier card for analog signals, AJA’s new OG-C10DA features eight BNC outputs, plus one BNC output with an option for loop out or processing. It supports NTSC or PAL analog video, bi-level and tri-level video reference, AES3-id digital unbalanced audio, and LTC signal type distribution. Built-in compatibility with Ross DashBoard software makes remote OG-C10DA configuration and control intuitive so production teams can distribute multiple copies of a signal and extend the composite video content with gain adjustment for long cable runs. OG-C10DA will be available next month through AJA’s worldwide reseller network for $449 US MSRP.
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AJA Diskover Media Edition Updates
New AJA Diskover Media Edition plugins for PixitMedia’s Ngenea data orchestration solution and Spectra Logic’s RioBroker, plus a v2.3 Diskover Media Edition software update, streamline data management and transfer workflows. These updates give users more flexibility to work with a broader range of toolsets and data catalog with greater efficiency, allowing them to make more informed decisions about the data that lives on their local, remote, and cloud storage.
The PixitMedia plugin provides direct access to the Ngenea Data Orchestrator solution within the Diskover UI so that users can view data across their storage in Diskover and transfer it to the appropriate destinations using Ngenea, a secure solution for transporting data to/from globally distributed cloud, object, and tape storage, and traditional network-attached storage (NAS). The BlackPearl RioBroker plugin ensures M&E organizations can view, access, and make more informed decisions about the content in their archives (object/tape/cloud). Both plugins are available now for free to AJA Diskover Media Edition users.
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Included in the latest AJA Diskover Media Edition v2.3 UI improvements is an administrative upgrade that reduces the time it takes to install, configure, and administer Diskover Media Edition and mitigates potential human error when working with text files. It allows users to easily make changes to AJA Diskover Media Edition settings directly in the UI, versus executing those changes via multiple configuration files. Additional v2.3 improvements give users expanded flexibility, such as the addition of a convenient PDF viewer that lets users pull up and see the contents of PDF files saved to their storage, without giving access to the source file to protect their production network.
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For more information about AJA’s IBC lineup, visit www.aja.com/what’s-new or come chat with an AJA representative during IBC at the AJA stand, 7.B19.
September 13, 2024
AJA Previews Virtual KONA in Collaboration with AWS at IBC 2024
New AJA SDK integration with AWS CDI to unlock virtualized video input/output (I/O) capabilities for cloud-based creative, streaming, and broadcast solutions built on AWS
Amsterdam, Netherlands, IBC Conference Stand 7.B19 (September 13, 2024) – AJA today announced a preview of Virtual KONA, a new software-defined, virtualized video capture/playback solution that the company is developing in collaboration with Amazon Web Services (AWS). Virtual KONA integrates the AJA NTV2 Software Development Kit (SDK), which is deployed by developers worldwide to build high quality workflow solutions with AJA video I/O cards, together with AWS Cloud Digital Interface (CDI). AWS CDI is a network technology for transporting high-quality, uncompressed video inside the cloud with high reliability and latency as low as 8 milliseconds. Combined, the technologies break down the barriers between on-premises and cloud for media production, allowing third-party developers to build solutions across both environments for a range of applications spanning broadcast through live streaming, post, and beyond.
Virtual KONA and the AJA SDK provide a direct plugin to AWS CDI, making it possible for any software application that supports KONA to connect to the cloud for I/O. This eliminates the need for developers to code an integration from scratch, while offering all the same media and metadata capabilities that AJA’s line of audio and video I/O cards are known for, but in a virtual environment. Third-party applications and hardware solutions that leverage the integration will be able to seamlessly input/output uncompressed, high resolution, high dynamic range (HDR) video between the cloud and local workstations located nearly anywhere in the world to support visual effects, color correction, editorial, broadcast graphics and playout, streaming, and other needs.
“As creative and live production workflows grow more distributed, there’s increasing demand for hybrid cloud and on-premises workflows. Virtualizing workstations and the third-party applications that run on them while still being able to stream that work down to local workstations for production stakeholders is crucial for remote teams,” shared AJA President Nick Rashby. “AWS CDI provides the network technology to transport live content with extremely low latency in the cloud, while Virtual KONA and the AJA SDK provide the reliable, fast I/O required to move media and metadata in and out of that network to and from local workstations, making the technologies highly complementary. Collaborating with AWS on this integration has been an incredible experience and we’re excited to preview it at IBC.”
The Virtual KONA technology preview currently supports Linux. Learn more at the AWS Stand, 5.C90, and the AJA Stand, 7.B19 at the IBC Conference, 13-16 September in Amsterdam. Virtual KONA is anticipated to release in 2025, with pricing details to be available closer to launch.
July 25, 2024
Video Village Miami Taps AJA Io 4K Plus for On-set Assist
Florida-based Video Village Miami provides on-set video assist for local commercials and music videos. Frank Collins established the outfit in 2019 after a 20-year career in sound mixing when he was inspired to add video management to his skillset and adapt to changes brought on by 2020. Today, it’s his job to know who needs to see the image that the camera is shooting and where they need to view it, which is often in the video village. To do this, he leverages a well-equipped cart sourced by Nebtek in Utah that includes the hardware and software needed to log, capture, playback, edit, and process video inputs and outputs, as well as a few monitors.
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Each project follows a similar workflow, with the main variable being the number of cameras used. Collins typically receives the client video feed from transmitters on the camera using a wireless transmission system. The signal then goes from the camera to the wireless receivers. From there, he cables back to his system in the video village. The signal is then sent through an AJA KUMO 1616-12G router and AJA KUMO Control Panel to an AJA Io 4K Plus, and output to the computer running QTAKE. The feed is then spit back out to an output device.
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“AJA Io 4K Plus just works; it’s recommended by QTAKE and does what it says it's going to do,” Collins shared. “The reliability is there, and it also works well with the QOD output hardware.”
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Across jobs, Collins ensures all parties on- and off-set are viewing the same image, helping to create a streamlined feedback loop to keep productions running smoothly. That insight is especially crucial to the video village, where creative stakeholders must be able to see and collaborate over the shots and actions taking place on set on their own monitor, separate from the director’s display.
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In some cases, Collins will also stream out to remote collaborators, and if a project shoots using a green screen, he may add overlays to help inform the creative process. When production calls for playback, he immediately starts from the point where they called action, so time isn’t wasted sorting through footage. For playback, Collins typically records a 1920x1080 proxy file and plays it back; however, he built his system with Io 4K Plus to be able to support two 4K systems if the need arises.
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“When I bought my cart, mobility and reliability were top of mind, which is why I love that Io 4K Plus is compact; I have two of them and they fit nicely into my rack,” Collins noted about the setup. “Reliability was also a consideration because my gear needs to be stable in many different temperature environments, from outside on the beach to the Everglades, in a cold studio, etc. Florida is extremely humid and can affect electronics, plus the cart I use has to be durable because it gets banged around during transport. All of our equipment is subjected to many elements, but it needs to hold up; for one of the last projects I worked on, the special effects team made it rain. I only use quality products that can withstand those elements and demands, and my AJA Io 4K Plus, KUMO, and KUMO Control Panel continue to run uninterrupted, even with everything they’re put through.”
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As technology continues to rapidly advance and gear becomes smaller, Collins is considering adding another cart to his arsenal. “If I'm able to invest in a second one, I’d like to build it out myself slowly and source the parts from Nebtek. Sometimes jobs overlap or a rental system might be needed locally, so it would be good to have a backup. I could also use it for training, and possibly create one that’s lighter, smaller and a little more mobile.”
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About AJA Io 4K Plus
Io 4K Plus is the cutting-edge of capture and output hardware available over Thunderbolt 3, offering a full set of professional video and audio connectivity with support for the latest 4K/UltraHD devices, High Frame Rate (HFR), High Dynamic Range (HDR) and deep color workflows. The power of Thunderbolt 3 enables Io 4K Plus to handle a wide range of formats from SD to HD, UltraHD and full 4K with frame rates up to 60p over both 12G-SDI and HDMI 2.0 with single cable simplicity, plus HDR support over both HDMI and SDI for HDR for emerging HDR workflow.
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About AJA KUMO Routers
AJA KUMO routers provide a convenient, dense routing solution in a lightweight, compact form factor for use in facilities, OB trucks, post suites, and more. Available in multiple connector densities, and in 3G-SDI and 12G-SDI options, KUMO is easy to update, configure, and control with optional Control Panels for quick physical access to source and destination routing, with convenient USB ports for IP configuration, plus all models offer integrated web browser access over the built-in Ethernet connection. KUMO 1616-12G and KUMO 3232-12G routers enable 4K and UltraHD routing on a single BNC for rates up to 12G.
June 10, 2024
AJA Unveils Ki Pro GO2 Multi-channel HEVC/AVC Recorder Ahead of InfoComm 2024
Next-gen multi-channel HD/SD recording device delivers flexible encoding options, allows professionals to produce higher-quality imagery at lower bit rates
Grass Valley, CA (June 10, 2024) – Ahead of InfoComm 2024 in Las Vegas, AJA Video Systems announced Ki Pro GO2, the next generation of its Ki Pro GO multi-channel HD/SD recorder. Sporting an upgraded feature set, the portable, 2RU device facilitates up to four channels of simultaneous H.265 (HEVC) or H.264 (AVC) recording to cost-efficient USB 3.0 drives or network storage with redundant recording and single-channel playback. Ki Pro GO2 helps production professionals produce higher-quality images at lower bit rates, allowing for longer recording times. It also provides flexible connectivity, including four 3G-SDI and four HDMI digital video inputs, so they can connect to a wide range of video sources. The device will be on display at AJA’s InfoComm booth (C8321) June 12-14, 2024.
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“Adapting to a range of production scenarios has grown vital to modern productions, whether on set or in a venue, so AJA keeps versatility top of mind when designing new products. Ki Pro GO2 brings professionals all the great features that Ki Pro GO has to offer, with a sleek design and the added flexibility to record in H.265 or H.264, depending upon each production’s unique needs,” shared AJA President Nick Rashby. “The product was inspired by user feedback in several regions across the globe where H.265 is used extensively, and we’re thrilled to introduce it to the market at InfoComm.”
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Ki Pro GO2 boasts an extensive feature set for reliable, high-performance recording and playback in a range of environments, from concert tours and sporting events to houses of worship, universities, and beyond. Setup and operation are simple with an HD display for precise monitoring; video monitoring and menu/status overlays with an on-screen keyboard; dedicated record, play, stop, rewind, and fast-forward buttons; and a standard Ethernet LAN connection for remote configuration and control of the device over a network from any web browser using Ki Pro GO2’s intuitive web user interface (UI).
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Integrated input frame synchronizers ensure users don’t have to genlock incoming video signals, while high-quality de-interlacers on each input allow progressive recordings to be made from interlaced inputs. Multi-channel matrix monitoring makes it convenient to monitor multiple camera feeds on a single HDMI or SDI display. Flexible audio functionality supports the capture of up to two channels of embedded audio from 3G-SDI or HDMI inputs, or two channels of Analog Audio from XLR ports, each offering a selection of Line, Mic, or +48V Phantom Power for level control. One of the device’s analog audio inputs can also act as a source for Longitudinal Time Code (LTC) insert.
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Recording is convenient and cost-effective with Ki Pro GO2, as the device supports a host of off the shelf USB media. Ki Pro GO2 also records in realtime to network storage via its Ethernet connection and FAT or exFAT file systems are supported for cross-platform use when transferring files to workstations, servers, and more. Multi-channel recording functionality ensures individual recordings for each input, so users can drag and drop files directly from a USB drive into their preferred creative software, and “group recording” is also supported. Clip names are laid out logically, and channel and backup are automatically appended for simple data management. Enhanced Super Out provides a timecode overlay, per channel audio VU meters, and media remaining percentages over SDI and HDMI monitor outputs. The device also facilitates playback of HEVC/AVC files created in supported third-party creative apps.
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Ki Pro GO2 feature highlights at a glance:
-- Multi-channel HD/SD H.265 (HEVC) or H.264 (AVC) recording to USB drives and network storage with redundant recording.
-- Intuitive operation with an easy-to-navigate web UI that is compatible with standard web browsers, front panel device buttons, and an integrated HD screen.
-- Flexible connectivity, including 5x USB recording media ports (compatible with off-the-shelf USB 3.2 Gen 1 media), 4x 3G-SDI inputs, 4x HDMI inputs, 4x 3G-SDI outputs, 1x 3G-SDI monitoring output, 1x HDMI monitoring output, balanced XLR analog audio inputs, mic/line/48v switchable, and an Ethernet LAN port.
-- Realtime recording to network storage.
-- Onboard exFAT drive formatting.
-- Built-in frame syncs.
-- Support for HDMI and SDI multi-channel matrix monitoring and HDMI and SDI.
-- Enhanced Super Out for monitoring timecode, media status, and audio levels.
-- Integrated web-browser UI and front panel button controls, with HD resolution video screen for confidence monitoring and menu information.
-- Single-channel H.264 or H.265 playback, including files externally created in DaVinci Resolve, Avid Media Composer, Apple Final Cut Pro, and Adobe Premiere Pro.
-- Selectable VBR recording settings with five options.
-- Timecode SDI RP-188 Input Support: Time of Day or Timecode Value.
-- LTC Support, available using a single channel of Analog Audio In.
-- Two channels of embedded audio per video input.
-- Three-year warranty and AJA’s world-class support.
Pricing and Availability
Ki Pro GO2 will be available in early Q3 for $4,749 US MSRP. For more information, visit: www.aja.com/ki-pro-go2
April 10, 2024
AJA Reveals Product Updates Ahead of NAB 2024
4K/UltraHD down-conversion and AMF support for ColorBox, BBC HLG LUTs v1.7 for FS-HDR and ColorBox, SRT bonding for BRIDGE LIVE, and more help M&E, pro AV teams harness emerging workflows
Grass Valley, CA (April 10, 2024) – AJA Video Systems today announced significant enhancements across some of its most popular solutions for broadcast, production, post, and AV professionals, including a new feature-packed v2.1 software update for its ColorBox solution for color managed workflows, available as a free download today. On display at the NAB Show, April 14-17, 2024, in the AJA booth (SL3065) at the Las Vegas Convention Center, the new releases are inspired by customer feedback and designed to help professionals keep pace with evolving standards, formats, protocols, and codecs, and streamline workflows.
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AJA President Nick Rashby said, “From color management to streaming, IP video, data management, and beyond, media production pipelines are evolving fast, and our goal is to make sure customers can take advantage of the latest technologies quickly and with greater cost-efficiency to improve their day-to-day operations. Our latest innovations bring new capabilities that give users more flexibility to focus on what matters most in the field – reliably delivering quality content.”
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As high-quality, color management and monitoring become a production-standard across film, episodic, broadcast, and live event environments, AJA is announcing a feature-rich update to its powerful AJA ColorBox device for real-time color managed workflows. ColorBox v2.1 introduces several new features and improvements inspired by customer input that support emerging workflows – from 4K/UltraHD down-conversion and 4K/2K cropping to new ACES Metadata File (AMF) support, ARRI Wireless Video Optimized LogC4 (WVO) compatibility, and more. AJA ColorBox v2.1 software is available as a free download today. Building another layer of confidence into the device, AJA also announced that ColorBox and Pomfort’s Livegrade have been recognized as the first recipients of joint logo product certification status by the Academy Color Encoding System (ACES).
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FS-HDR v4.3
With FS-HDR v4.3 firmware, AJA’s real-time HDR/WCG converter and frame synchronizer will include the latest BBC HLG LUTs v1.7, as well as new motion adaptive deinterlacer and channel-to-channel HFR sync controls. Updated BBC HLG LUTs v1.7 bring updates to LUT 9 for improved reproduction of bright saturated colors and LUT 21, which offers a wider color gamut SDR output. A new motion adaptive deinterlacer control improves performance with some interlaced video containing fast motion by adjusting the amount of motion adaptation used. AJA has also updated channel-to-channel HFR sync control to be user-configurable, so it can be easily turned on or off depending on production needs. FS-HDR v4.3 will be available in Q2 2024 as a free update.
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BRIDGE LIVE v1.16
AJA will showcase advancements for BRIDGE LIVE, the IP video workflow multi-channel transcoder used to facilitate remote production, two-way interviews, live event streaming, and synchronous multi-cam backhaul with HDR. It also supports cloud contribution, program return, confidence monitoring, collaborative production, and generation of ABR ladder profiles to hand off for OTT packaging. Packed with enhancements that include SRT bonding, AAC-HE v2 encoding/decoding, 20-bit Dolby E passthrough, and other additions that give users more flexibility in the field, BRIDGE LIVE v1.16 will be available for download in Q2 2024. It is free to customers with current maintenance agreements, and bug fixes are available to all users at no cost.
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AJA Desktop Software v17.1
Releasing in Q2 2024 as a free downloadable update, AJA Desktop v17.1 software for AJA KONA, Io, and T-TAP products delivers new capabilities, including the ability to pass metadata such as SCTE-104, Dolby Vision, Closed Captioning, and SMPTE Time Code. The release also adds support for Thunderbolt™ on Linux.
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FS4 v3.1
Many user-inspired improvements are included in the v3.1 firmware release for AJA’s FS4 four-channel 2K/HD/SD or single-channel 4K/UltraHD frame synchronizer and up/down/cross-converter. With the update, customers can enjoy powerful enhancements, such as motion adaptive deinterlacing control and improved, user-configurable channel to channel HFR sync control. FS4 v3.1 will be available in Q2 2024 as a free downloadable update.
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HELO Plus v2.1
A free firmware update for the HELO Plus H.264 streaming and recording device features a new SRT Stream ID parameter to Caller mode, the addition of SRT Listener mode as a user selection, a view of the B-frame setting of each encoder in the status page, and more. It will be available as a free download in Q2 2024.
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Diskover Media Edition v2.2.3
New features, plug-ins, and enhancements for AJA Diskover Media Edition data management and curation software round out AJA’s NAB announcements. Available now, AJA Diskover Media Edition v2.2.3 delivers an enriched metadata catalog via a new arrival date attribute, a plug-in for Autodesk’s popular Flow Production Tracking creative project management software (previously ShotGrid), and a host of other useful new navigation, host-aware file action, task panel, and analytics improvements designed to streamline workflows. Upon availability, users can also set up a trial of the software in minutes using an OVA (open virtual appliance).
Learn more about AJA’s latest product releases and updates via AJA’s What’s New Page, and visit AJA’s NAB booth (SL3065).
April 10, 2024
AJA Debuts ColorBox Updates Ahead of NAB 2024
v2.1 software advances color management workflows with expanded capabilities; device receives joint logo product certification status by ACES alongside Pomfort Livegrade
Grass Valley, CA (April 10, 2024) – AJA Video Systems today released ColorBox v2.1, a free software update for its real-time color managed workflow device, and announced that AJA ColorBox and Pomfort’s Livegrade have received the first joint logo product certification status by the Academy Color Encoding System (ACES) for their support of ACES-based workflows. Available for download today from the AJA Support Page, ColorBox v2.1 delivers a host of new user-inspired features that streamline 4K/UltraHD HDR work and facilitate emerging workflows from on-set through post.
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Among the v2.1 release highlights are a new 4K/UltraHD down-conversion feature for ColorBox’s SDI and HDMI outputs and a 4K/2K crop feature for its HDMI output, which help professionals make better use of existing cost-efficient HD monitoring equipment on-set. The update also introduces a new ACES Pipeline for the device that enables users to load an ACES Metadata File (AMF) into ColorBox to obtain the desired transform for improved collaboration across production stakeholders; support for ARRI Wireless Video Optimize (WVO) LogC4, which helps to eliminate banding introduced by wireless Tx and Rx systems; and more.
AJA President Nick Rashby said, “For ColorBox v2.1 we focused on making 4K on-set color workflows easier for productions to manage using the monitors and equipment they already have. Whether it’s the ability to review 4K accurately with HD monitors, offer simplified AMF processing to more parts of the production team, or incorporate an inverse ARRI WVO to make LogC4 easier to deploy, this new release helps productions easily take advantage of new workflows and with greater cost-efficiency.”
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AJA ColorBox v2.1 highlights include:
-4K/UltraHD down-conversion for SDI and HDMI outputs lets users easily down-convert SDI and HDMI outputs to a lower resolution (4K to 2K, or UltraHD to HD), if 4K devices are not accessible on set.
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-4K/2K crop for HDMI output makes it easy to center-crop 4K to UltraHD or 2K to HD and get an unscaled image on the HDMI output that is compatible with a broad range of consumer UltraHD and HD displays.
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-An added ACES Pipeline with support for AMF processing allows professionals to take advantage of AMF workflows that offer improved color interoperability across the filmmaking chain. AMF files capture data required for an ACES Pipeline like the IDT, LMT, RRT, and ODT into a single XML file that can be easily distributed to team members on-set and through post and final grading. It marks the sixth pipeline to be integrated into AJA ColorBox.
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-ARRI Wireless Video Optimize LogC4 (WVO) support solves workflow challenges introduced by some wireless Tx and Rx systems when working with ARRI Alexa 35 and LogC4. With the inverse WVO 1D LUT directly incorporated into ColorBox, LogC4 is simpler to deploy with existing equipment, saving time and money.
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-SDR Preview for Colorfront Live Mode enables users to quickly see what an HDR output would look like converted to SDR, without reconfiguring the HDR monitor. The Colorfront Engine maps the video to the targeted HDR, but with values that exactly represent the SDR image, eliminating the time required to change the output format to SDR and wait for the display to reconfigure.
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-BBC HLG LUTs v1.7 ensures ColorBox supports the latest BBC HLG transform updates.
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Pricing and Availability
AJA ColorBox v2.1 will be on display at the AJA NAB Booth (SL3065) and is available today as a free download from the AJA Support Page. ColorBox can be purchased through AJA’s worldwide reseller network for $1,995 US MSRP, with optional licenses for Colorfront at $995 US MSRP, the ORION-CONVERT pipeline at $695 US MSRP, and the BBC HLG LUT pipeline at $145 US MSRP. For more information, please visit: www.aja.com/colorbox.
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About AJA ColorBox
AJA ColorBox is a powerful video processing device designed to perform LUT-based color transformations and offers advanced-level color science with AJA Color Pipeline, as well as several look management approaches including Colorfront, ORION-CONVERT, BBC, NBCU LUTs and ACES. Featuring 12G-SDI in/out and HDMI 2.0 out, ColorBox is capable of up to 4K/UltraHD 60p 10-bit YCBCr 4:2:2 and 30p 12-bit RGB 4:4:4 output, perfect for live production, on-set production, and post-production work. ColorBox’s browser-based user interface makes it simple to adjust color processing settings, whether connecting directly via Ethernet or via a third-party WiFi adapter.
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About AJA Video Systems
Since 1993, AJA Video Systems has been a leading manufacturer of cutting-edge technology for the broadcast, cinema, proAV, and post production markets. The company develops a range of powerful, flexible video interface and conversion technologies, digital video recording solutions, and color management, streaming, and remote production tools. All AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
April 2, 2024
AJA Announces Straker Coniglio as New Asia Pacific General Manager
Grass Valley, CA (April 2, 2024) – AJA Video Systems today announced that media industry veteran Straker Coniglio has joined the company as Asia Pacific (APAC) General Manager (GM). He brings more than three decades of experience to AJA, including a successful Emmy-Award winning career in production, followed by years of developing and executing comprehensive global sales strategies for prominent media and entertainment technology companies. Based in Bangkok, Thailand, Coniglio will work closely with AJA’s established APAC team, as well as its broad network of distributors and resellers, to expand AJA’s geographic and market footprint, and support customers across the region.
“When it comes to developing products that broadcast, production, post, and AV professionals trust in the field, AJA is the gold standard, offering a broad range of reliable tools that get to the root of many real-world challenges facing customers. I’m thrilled to get the opportunity to work with such exciting tech and AJA’s best-in-class management,” said Coniglio. “I also look forward to collaborating with AJA’s strong network of dealers and distributors across APAC and the incredible regional team it’s built. Together, we’ll be able to expand AJA’s business in the region and across markets in a sustainable way. The fact that we get to help shape the future of the industry along the way, with the products and innovations AJA brings to market, is an added bonus.”
Coniglio joins the AJA team from Vizrt, where, as GM of APAC, he implemented customer-centric strategies that drove new and repeat business. Prior, he spent time managing Vizrt’s entire product portfolio as Head of Global Product Management and leading the company’s MAM and Digital Publishing Business as VP of the division. He’s also held senior sales, product, and management positions at Harmonic, Belden, and Avid. A launchpad to his career in media and entertainment technology, he previously worked in production on projects broadcast on CNN, NBC, ESPN, and other major news outlets. Straker holds degrees in Television Production and Business Management along with an MBA from Northeastern University.
“I’ve known Straker for years, and he understands the unique business needs of customers across the entire APAC territory from China, Japan, and Korea to Australia, New Zealand, Polynesia, and beyond,” shared John Miller, AJA Vice President of Global Sales. “His vast knowledge about the industry, customer-base, our market segment, and the APAC region, will be a huge asset to our team, partners, and customers, and we couldn’t be more excited to welcome him into the AJA family.”
Coniglio will be available to visit during NAB 2024 from April 14-17, 2024, at the AJA booth (SL3065) in the Las Vegas Convention Center. Get in touch with your local dealer or distributor to book a meeting with him at the show.
March 28, 2024
Illuminate Hollywood Manages Modern Data Loads with AJA Diskover Media Edition
With a project portfolio as rich as its history, Illuminate Hollywood has provided production, post, and technology services to major Hollywood studios, TV networks, digital platforms, and indie producers and distributors for nearly three decades. Since the boutique shop opened its doors in 1995, it has done scanning, editorial, color correction, digital intermediate, VFX, 2K/4K distribution, audio conform and layback work for episodic and feature film productions spanning “Sons of Anarchy” to “Gone Girl.” As production and post processes have grown more complex with growing adoption of high resolution, high dynamic range workflows, CEO Jim Hardy and President Sandy Crawford have evolved the studio’s workflow to keep pace, adopting new technology like AJA Diskover Media Edition data curation and management software to manage an ever-increasing volume of data.
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“We're a small company competing against organizations with massive technological and staffing backbones, so we try to stand out for our innovation and top-notch service. That means we’re continuously evaluating and adopting emerging technology like AJA Diskover Media Edition, while also developing proprietary tools,” shared Crawford.
Hardy added, “We're a technology-first company, which has led us to develop some cool in-house tech that gives us an edge over other vendors. All our work is also done in-house, which is key to maintaining quality control.”
Building proprietary solutions to manage a heavy project load
Many clients come to Illuminate to remaster television shows from uncut negatives, which means the team must ensure they have all the correct physical film assets from the client. Using its proprietary technology iConform®, Illuminate is able to take uncut dailies negatives and scan them in 4K 16-bit DPX files across multiple projects.
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“We have to replicate exactly what was done with the original broadcast master, so there's no cutting corners for us. It’s part of the reason we’re working with petabytes of data,” explained Crawford. “The volume of work that we go through on a weekly basis to meet the deadlines is astounding. A project passes through 12 different departments from film scanning to color correction and final creation of the master file that's going to be reused for all the platforms. Our tech is essential for enabling us to produce six 60-minute shows a week.”
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In addition to iConform, Illuminate has also developed SmartREzIT+™, a solution that combines proprietary software and techniques with other third-party software to upres SD masters to HD, 2K and 4K. It extracts more detail and resolution than traditional methods, which makes for superior image quality with little to no artifacts. The company envisioned the technology while working on older TV shows shot on uncut film negative.
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“We knew we might encounter missing film, which meant we needed a process to replicate the quality so that it didn’t impact the viewing experience,” Hardy explained. “Our conversion solution isn’t real-time, which helps us create an end-result that looks as if the image originated in HD, 2K, or 4K.”
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Keeping projects on track with smarter data management
Across projects, Illuminate manages a massive load of data stored across its Aberdeen and XStor storage systems, which requires well organized files and data, and an easy way to access them. To streamline this work across departments, it adopted AJA Diskover Media Edition. Data operators leverage the software to gauge how many files the facility has across all of its volumes and servers. They can type a keyword into the search and see all the information in the user interface. On the administrative side, Hardy and Crawford use Diskover to get a holistic view into Illuminate’s data; if a client wants to know what they have in house for a file or title, they can pull it up, versus having to check with operations first. The technology has also reduced file clean up, as they can flag files for removal if the client no longer needs them.
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AJA Diskover Media Edition has also enhanced the studio’s quality control (QC) pipeline. Using the CineSys CineViewer Player Plug-in, the Illuminate team can review rejected or questionable files flagged by the QC operator, instead of having to visit a bay or separate facility to review. “We can look at it ourselves, take a screenshot, and send it to each other, which saves us a lot of time, versus having to visit a QC or color bay,” Crawford noted.
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With direct and timely insight into any issues, the Illuminate team can share more information with clients. They're also able to easily put in work orders if they need the operator to work from a specific file because the file path is more accessible with Diskover. And, they can easily confirm the file and aspect ratios available, as long as they’re properly identified, which Crawford said has saved the team hours. “Without AJA Diskover Media Edition, our team would have to search through volumes of data and could easily get lost. The software makes our work so much easier and efficient,” she noted.
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Hardy added, “It’s great that we no longer have to ask and wait. We can search and find what we need. It helps for asset management and keeping track of files we may not need anymore.”
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AJA Diskover Media Edition also allows Illuminate to grant team members unique access permissions and see the file sizes on a moment’s notice, ensuring they only see the files they need to see in a timely manner, without jeopardizing their integrity, which Hardy explained is paramount. “It’s so helpful,” he explained. “And, I love that we can see how many copies of the same files we have parked on different servers; we can better determine what needs to be purged. We’ve already seen such a boost to our workflow and we haven’t even begun to explore the full feature set, so we’re looking forward to diving in deeper soon.”
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Commenting on his experience with AJA Diskover Media Edition and its support team, Hardy shared, “To put it into perspective, when we work with clients, they want to know we’re giving them the best attention they can get, and when we work with the AJA Diskover crew, that’s what we get. They listen to us and genuinely want to and are willing to help, and that goes a long way. When working with some of the large tech companies, your concerns sometimes get lost, but that’s not the case with the AJA Diskover Media Edition team. They’re very receptive to our perspective, what we're interested in, and how they can help us achieve our goals.”
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In addition to leveraging AJA Diskover Media Edition, Illuminate uses AJA gear across its facility, including analog to digital and digital to analog Mini-Converters, Ki Pro recording devices, and audio embedder/disembedders. For more information about the studio, visit: www.illuminatehollywood.com.
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About AJA Diskover Media Edition
AJA Diskover Media Edition is the powerful, easy to deploy data management software solution designed to let users take control of storage, across the entire organization, regardless of where it is physically located. It enables high-speed, cutting-edge searches, cost analysis, tagging and other sophisticated tools to empower all levels of an organization to make more informed data decisions, enhancing the company’s file-based production line and its monetization - all from a simple web-browser based user-interface. Efficiently curate existing assets, empower your workforce and never lose a file again with AJA Diskover Media Edition. www.aja.com/aja-diskover-media-edition
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About AJA Video Systems
Since 1993, AJA Video Systems has been a leading manufacturer of cutting-edge technology for the broadcast, cinema, proAV, and post production markets. The company develops a range of powerful, flexible video interface and conversion technologies, digital video recording solutions, and color management, streaming, and remote production tools. All AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
February 6, 2024
AJA Welcomes John Miller as Vice President of Global Sales
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AJA Video Systems today announced that media and entertainment (M&E) industry veteran John Miller has joined its team as Vice President of Global Sales. In the role, Miller will guide international sales teams across the AJA product lines, leveraging three decades of experience growing revenue for software as a service, media asset management, and integrated hardware and software development companies like Vizrt Group, BeBop, Brightcove, Avid, and Autodesk.
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“John Miller is a seasoned professional with an exceptional track record, and we’re thrilled to have him on board,” shared AJA President Nick Rashby. “He’s well-known and well-respected within the industry we serve and has steered teams through many complex emerging technologies and sales models, and mergers and acquisitions. His extensive market knowledge, experience working with worldwide reseller channels, and strong leadership qualities are invaluable, and we’re excited to continue growing AJA sales globally with him at the helm.”
“As a company, AJA has established an impressive global footprint, with a reputation for building tools that address real-world challenges and providing world-class support,” Miller said. “I’m excited to work with AJA’s incredible team and apply my knowledge and unique skill set to increase sales and grow the business.”
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Miller joins AJA from visual storytelling tools provider Vizrt, where he spent more than two years overseeing major broadcast accounts as Enterprise Sales Director, exceeding sales quotas and bringing teams together to successfully execute projects. Prior, Miller led worldwide sales and marketing efforts and third-party strategic partner relationships for cloud-based M&E SaaS provider BeBop Technology, and also acted as VP of Americas Media Sales at Brightcove, an online video platform developer.
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Miller also spent seven years at Avid, where his leadership as Senior Sales Director for the US and Canada helped increase sales year on year, and he played an integral role in driving revenue growth at Maximum Throughput, a media management and storage technology developer acquired by Avid in 2009, in the role of VP of Worldwide Sales and Marketing. Previously, Miller served as VP of Worldwide Sales and Marketing for Autodesk’s M&E division and also worked for Discreet Logic in regional sales and general management roles before Autodesk’s acquisition of the company. He earned a Bachelor of Arts degree in Business Management from Assumption University in Worcester, MA.
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About AJA Video Systems
Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions, and professional cameras, bringing high-quality, cost-effective products to the professional broadcast, video, and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
February 1, 2024
DP Mihai Malaimare Integrates Classic Cameras into Digital Workflows to Enhance Visual Storytelling
As the industry continues to innovate with the highest quality video capture technologies, the nostalgic look and charming imperfections produced with classic analog cameras cannot be overlooked or easily replicated. While the image capabilities of modern digital cinema cameras are ideal for capturing 4K/UltraHD HDR video, some directors of photography (DPs) opt for classic VHS-C camcorders to create a highly stylized look, establish a time period or tone, or enhance visual storytelling.
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A master at the art of storytelling through cinematography, DP Mihai Malaimare (ASC) first devised a process for integrating classic cameras into a fully digital workflow for the 2017 crime drama “November Criminals.” Capturing the film’s opening sequence with a VHS-C camera presented a range of challenges; although the sequence was filmed analog, the footage needed to be recorded digitally for dailies and seamlessly integrated into the production workflow. Furthermore, a video signal of the analog footage had to be routed to monitors on set for live review by the director and crew members.
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Using a single cable hidden on the back of the camcorder, Malaimare routed the VHS-C signal to an AJA V2Digital™ analog to HD/SD-SDI digital video converter. Once the camera output was converted from analog to digital, the signal was recorded in 1080 24p and routed to a transmitter and the director’s monitor for live on set viewing. The voltage capabilities of the V2Digital allowed the crew to power the converter using a battery with enough power for half of the day. Malaimare shared, “I ran a test of the workflow, and everything was perfectly in sync, plus the post-production team was amazed. There’s no way you can replicate the look of a VHS-C without a workflow like this. Manipulation in post with filters won’t create the same artifacts, light streaks, or look of the lens, so nailing this workflow to capture it in camera was critical.”
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For the 2022 sports drama “Winning Time: The Rise of the Lakers Dynasty,” Malaimare and Cinematographer Todd Banhazl (ASC) leveraged a similar production workflow to transport audiences to the 1980s. A V2Digital converter remained central to the workflow, they shot on analog Ikegami cameras using old lenses, and Panavision provided cages that worked with modern accessories, like remote focus. For sequences shot with analog cameras, Malaimare and Banhazl recorded interlaced video to double the perceived frame rate without using additional bandwidth.
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Malaimare concluded, “Although modern lenses offer superior visual quality, the imperfections you get from filming with older cameras offer such a distinct look you just can’t recreate with all the modern technology in the world.”
For more information on Malaimare, visit: http://www.malaimarejr.com/.
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About V2Digital
V2Digital is a high-quality, cost-effective analog to digital video converter that’s perfect for facilities needing to integrate signal types. V2Digital provides AJA’s high-quality 10-bit conversion of component or composite analog video to SDI at either SD or HD resolutions utilizing a full 10-bit data path and 2x oversampling to ensure a quality conversion all at an extraordinary price. V2Digital accepts YPbPr (SMPTE, EBU-N10), Betacam, or RGB component inputs or NTSC/PAL or Y/C (S-Video) composite inputs with a 4-line Adaptive Comb Filter providing high-quality decoding of composite sources. Configuration can be set by on unit DIP switches or remotely via AJA MiniConfig software control over USB. www.aja.com/products/v2digital
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About AJA Video Systems
Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
January 22, 2024
AJA BRIDGE LIVE Helps BCC Live Meet Encoding/Decoding Demands Across Productions
In live event production, preparing for the unexpected is critical, whether a small codec or frame rate issue throws off the chain or a larger problem arises. Boulder, Colorado-based BCC Live finds opportunity in these challenges. While its roots may be in IT, the company has quickly evolved into a live production powerhouse, helping organizations like IRONMAN, Rock n Roll Marathon, and others deliver broadcast quality coverage of niche sporting events and conferences to global audiences. BCC Live President and Event Technician Dave Downey attributes this success to a smart, passionate team dedicated to tackling the most ambitious broadcast and live stream projects for international clients. To support a broad range of encoding/decoding demands, BCC Live invested in an AJA BRIDGE LIVE IP video workflow bridge.
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“AJA BRIDGE LIVE is helping us navigate challenges across the board. With it, we can take in nearly any type of feed and send out whatever end format is required,” shared Downey. “After only a 15-minute demo of the device, we were sold. It’s solved a lot of problems for us.”
Whether broadcasting or running tests, BCC Live deploys BRIDGE LIVE nearly every weekend to support a range of production demands (i.e., 1080i or 1080p, 50 or 60 frames, Secure Reliable Transport, etc.). They also leverage it to intuitively send SCTE markers to customers for triggering breaks. In the case of 70.3 IRONMAN competition broadcasts during which a production company partner runs the ad breaks – like the IRONMAN European races – BCC Live will tap into BRIDGE LIVE’s ability to send SCTE metadata down to the broadcast channels so that the production team can trigger ad breaks.
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BCC Live provides soup-to-nuts services spanning production through post – including animation and graphics – so every project is different. At the start of each project, BCC Live ensures all the right people, assets, and equipment are in place as a first step, then builds out custom event graphics. The BCC Live team often receives live event feeds from a production company, then mixes the content, adds graphics, and broadcasts it to millions of viewers via YouTube or other online video platforms. They also package the content into 45-second highlight reels for social media platforms like Instagram. Regardless of where content is produced, anything broadcast or streamed by BCC Live comes into its Boulder studio before distribution to viewing platforms.
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Supporting various live production demands
SRT and RTMP are frequently requested by clients, as are SDI and NDI. With BRIDGE LIVE, BBC Live can support many formats with one device. “The fact that BRIDGE LIVE supports so many connectivity types, video codecs, and protocols has significantly reduced the volume of equipment we use. It allows us to go in and build a new profile for any project, so we’re set for the broadcast without a lot of stress,” Downey explained.
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Commenting on NDI in particular, he continued, “We love using NDI with BRIDGE LIVE because we don't have to get up from our seats to send the signal in the studio; I can easily open the signal on my laptop in NDI, do a quality check, pull it into the TriCaster, and make sure everything is how I want. Then, I can patch it and set it up as SDI, so whenever we need it in multiple places, we can use a matrix splitter. This means multiple studios can grab what they need off NDI; it’s a simple way to split off a world feed as we get it.”
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Bringing IRONMAN Triathlon Races to a broader audience
Many of BCC Live’s productions for European IRONMAN events start with a live premix feed provided by a production company partner. BCC Live’s Boulder studio receives that feed via BRIDGE LIVE, and it’s pulled into its video mixer via SDI and sent to a few destinations in-studio. BCC Live transmits the feed through its replay machine and sends a split into its TriCaster via SDI, where the team adds HTML5 graphics. They use a green screen background and put the video behind the hosts so it looks like they’re in the location of the event.
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BCC Live then sends the feed out via BRIDGE LIVE to YouTube, Facebook, and Outside for viewers to see, as well as to Grabyo, where its client can pull content for social needs. Next, the team spins off a world feed that is sent to LiveU Studio and also transmits a mixed feed to LiveU Studio from the BRIDGE LIVE. In LiveU Studio, they might bring in remote hosts, mix in localized content, and send that off to a relevant network or streaming platform.
Streamlining the workflow
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With BRIDGE LIVE, BCC Live has cut its encoding/decoding technology needs in half, according to Downey. The device enables the team to easily grab NDI off the network regardless of the source. “One of the biggest benefits of BRIDGE LIVE is that we can specify every piece of the configuration, like the frame size, and we’re never limited to just two choices,” Downey added. “With some encoders, you’re stuck with the presets. With BRIDGE LIVE, we can specify almost any configuration option on the input and output. As we’ve been working with higher-end broadcasting platforms, we can easily provide the video PID, Audio PID, etc. with BRIDGE LIVE. Plus, we can set the audio to nearly anything we want, which is awesome.”
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Having such a broad array of configuration options has been huge for Downey and the team, as has the device’s ability to add metadata and SCTE markers to the stream. Downey said that BRIDGE LIVE will also make it easier to add closed captions in the upstream. Commenting on AJA’s continued development of the device, he shared, “The updates AJA continues to add to the device are hugely helpful. Unlike literally every company that says they’re planning updates and then never delivers, AJA regularly pushes out meaningful updates. The addition of formats in the input and output stream is just one of many great feature additions since we invested in the unit. We also love how updates have allowed us to take progressive and send it back out interlaced and vice versa with just one unit, instead of a huge expensive rack.”
Looking ahead
Growth remains a key focus for BCC Live, especially with a major 2028 sporting event planned not too far off. Downey and team are eager to find a way to play a part in the production. He concluded, “Our team broadcasts incredible sporting events like the IRONMAN World Championship to millions of people, and we use the best technology to do it. We're ready for any challenge.”
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About BRIDGE LIVE
Developed in cooperation with streaming software experts Comprimato, BRIDGE LIVE is a turnkey solution built for critical streaming and contribution applications with high performance 12G-SDI video encoding/decoding, stream-based transcoding, with flexible 12G-SDI I/O, comprehensive metadata and closed caption support, all within a compact 1RU form factor with redundant power supplies. www.aja.com/bridge-live.
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About AJA Video Systems
Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
January 17, 2024
Light Iron Taps AJA Diskover Media Edition to Inform Smart Storage Strategies
Light Iron, a Panavision Company, offers a range of post-production services for feature film and episodic television, from dailies all the way through to final color, VFX, and finishing. With facilities across North America, multiple shows in the pipeline at any given time, and imagery with increasingly higher resolutions, each year, it becomes more critical for Light Iron to have an easy way to manage and organize staggering amounts of data. The studio relies on AJA’s Diskover Media Edition, a powerful data management software solution that enables users to quickly organize and index data across both on-premises and cloud-based storage.
Liam Ford, SVP of Engineering and Technical Operations at Light Iron, explained, “In the past, an entire 2K TV show might take up 8 TB, which meant the facility SAN was only a couple hundred terabytes; the load wasn’t that heavy. It was easy to find what you needed, and one person could manage it. As time went on, jobs just got bigger, especially with the move from 2K to 4K. Plus, with the transition from film to digital capture, our digital storage requirements shot up fast. We’re now ingesting tons of terabytes per day, per show, across our facilities in New York, Los Angeles, and other locations. It’s a lot of data to manage and wrangle, and if we’re not organized, things can get out of hand quickly, which is where we lean heavily on AJA Diskover Media Edition.”
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Across facilities, Light Iron runs its storage on Quantum StorNext file systems, with some additional network area storage (NAS). Ford and the team at Light Iron use AJA Diskover Media Edition to track projects across all modes of storage and compile full indexes of their content, including metadata – enabling producers and operations staff to quickly drill down through projects and decide what can be archived, deleted, or sent to clients for review. At a higher level, AJA Diskover Media Edition also gives Ford a robust overview of the SAN structure to ensure that the studio isn’t holding too many aging files or hitting critical capacity limits.
“Diskover is a true workhorse that we use constantly to track file movement and notify people where things are,” shared Ford. “Without it, it would be a slog to figure out where content is, determine the latest versions, and so on. We can also easily keep track of duplicates, so it’s easy to free up space when we need more. It gives us a dashboard to track how data is being consumed across projects. With better insight into our data consumption and where files are, it’s easier to get ahead of any issues.”
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One of Ford’s favorite newly-added AJA Diskover Media Edition features is Live View, which functions as a navigable tree rather than a static listing – giving users real-time insight into their files and ensuring they’re always seeing the most up-to-date version. Ford also relies on the Aggregate Volume View and the Aging View capabilities, which makes it easy to implement the desired parameters – for instance, anything over 160 days old – and tag broad swaths of data for archival.
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He commented, “Without Diskover Media Edition, the only way for our team to make project management decisions in terms of which data to keep is to gather around a single secured workstation to look directly at the content; as you can imagine, that’s incredibly inefficient and a waste of resources. With Diskover, any of us can open up our laptops and get a full, up to date overview of everything online, on a standard web browser. As a result, decisions to clean things up happen way faster and earlier. It’s time saving, and money saving. Without the ability to figure out what exactly you have and how old it is, producers are more reluctant to touch anything, which can max out storage and lead to the team investing in more storage. Now, it’s much easier for us to understand what’s fluff and pare it back, so we get more mileage out of our existing storage.”
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Light Iron continues to evolve its tech infrastructure to harness greater productivity and meet client demands. The studio is ramping up its use of cloud-based storage as it becomes more secure and scalable and is adopting more collaborative hybrid workflows as bandwidth becomes more affordable and accessible. Reflecting on these evolutions, Ford concluded, “With these developments, storage will only grow less siloed, which makes it important to have a dashboard where you can keep track of it all. Having a solution like Diskover Media Edition, that brings all that storage information together and gives you a view of where all your data and accompanying metadata sits, is becoming more critical every day.”
About AJA Diskover Media Edition
AJA Diskover Media Edition is the powerful, easy to deploy data management software solution designed to let users take control of storage, across the entire organization, regardless of where it is physically located. It enables high-speed, cutting-edge searches, cost analysis, tagging and other sophisticated tools to empower all levels of an organization to make more informed data decisions, enhancing the company’s file-based production line and its monetization - all from a simple web-browser based user-interface. Efficiently curate existing assets, empower your workforce and never lose a file again with AJA Diskover Media Edition www.aja.com/aja-diskover-media-edition
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About AJA Video Systems
Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
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About Light Iron
Light Iron, a Panavision company, is recognized as an industry leader and pioneer in innovative, end-to-end file-based solutions for production and post. Filmmakers, studios, creatives and technologists rely on Light Iron’s expertise to deliver progressive digital workflows that meet the needs of even the most complex features and series intended for any and all distribution platforms. Light Iron’s service offerings include in-facility and near-set dailies options; offline editorial rentals; in-house visual effects; 4K, 6K and 8K color, finishing and mastering for SDR and HDR; and cutting-edge cloud-based media archiving. With physical facilities across North America, Light Iron also offers remote services on a global scale, enabling content creators working anywhere in the world to collaborate seamlessly with the company’s talented roster of artists. Learn more at www.lightiron.com.
January 10, 2024
CuePilot Leverages AJA I/O Technology to Help Live Productions Elevate the Audience Experience
From live broadcasts to in-person events, the audience experience is growing more dynamic by the day. With LED displays becoming the main focal point of large arena shows and TV continuing to produce popular on-stage entertainment formats, audiences see and feel every production detail, from lighting to music, choreography, wardrobe, and beyond. This means every production element must be perfectly positioned and synced for every show. Copenhagen-based CuePilot makes this possible for broadcasters and live event producers with in-studio and portable production planning and execution solutions built with AJA I/O technology. Deployed on thousands of hours of productions across Europe, the United States, and a wider global market, its technology has been used in concert tours for artists like Rosalia and Beyonce and major broadcasts such as the Eurovision Song Contest, allowing these productions to build, communicate, refine, and execute live broadcast and events that impress.
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“Our aim is to develop solutions that let production teams bring live musical stage performances, reality TV competition broadcasts, and major corporate events to life with optimal precision and without getting in the way of the creative. We’re able to do this by combining proprietary software with off-the-shelf hardware solutions like AJA Corvid 44 12G BNC and Io X3,” shares CuePilot Specialist Chris Abbott. “While the action is unfolding on stage, our solutions are driving visuals behind the scenes, cueing teams, and ensuring that the type of shots the director is trying to achieve are as tightly planned and tweaked as an edited music video. The combination of hardware and software enables our solutions to act like a symphony conductor, helping every part of the production team to work in harmony.”
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When CuePilot initially launched nearly fifteen years ago, it started out as a tool for directors but quickly grew into a cross-production solution for everyone, from the LED content team to the lighting programmers, stage managers, artists, and more. Available as both a portable and more permanent solution, CuePilot makes it easy for broadcast and live event production teams to plan, edit, and then execute their live multi-camera shows. The directors and teams will plan the show on a timeline and can seamlessly communicate the plan in real time to the whole crew.
CuePilot’s mobile MacBook Pro production kit includes an integrated AJA Io X3 Thunderbolt™ 3 video I/O box, which provides all the I/O functionality and connectivity its clients need in a small form factor that fits into a 1RU. Enabling users to connect to a laptop over Thunderbolt, Io X3 gives CuePilot’s clients the video output required for four CueSreens (a new feature in CuePilot 8), follow the timecode reference to ensure all production elements are in sync, and RS-422, which lets users cut over serial for the switchers operated over serial. All of this is possible using a small case the size of an airplane carry-on.
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Designed for studio and truck environments, CuePilot’s Production Server comprises a Mac Studio, rack mounted in a three-unit enclosure with an AJA Corvid 44 12G BNC multi-format I/O card, which helps the solution communicate plans visually across the production team. Again, four SDI outputs allow four different CueScreens, each of which enables a customized view, helping all elements of the plan to be easily communicated across the production, whether that’s the production gallery, backstage, or to each camera position. Corvid 44 12G BNC also allows CuePilot to read and synchronize with external timecode, enabling CuePilot to keep in time with the rest of the production, and to control the vision switchers, sending frame-accurate commands to control the camera cuts, macros, keys, and more.
Commenting on its use of AJA technology across both solutions, Abbott notes, “We’re a small team with a big client base operating around the clock to service clients in multiple time zones, so it’s important that our technology can be easily deployed and will hold up in the field, which made AJA an obvious fit. We also knew the AJA SDK would make it easy to develop both our portable and permanent solutions with the same toolset. The fact that AJA is also awesome about delivering updates that answer shifts in the field also played a role in the decision. I love that AJA kit built for one generation will work in the next, and the SDK is so flexible, which means our solutions can grow with AJA.”
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Looking to the future, Abbott expects more broadcasts and live events to put extra consideration into the various elements they’re producing and how the whole audience – from the front row to the back of the venue and online – will experience them, and says he anticipates AJA will remain a key enabler.
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About Corvid 44 12G BNC
Corvid 44 12G BNC boasts four bidirectional 12G-SDI spigots with a Reference Input. 8K Input or Output is possible using quad 12G-SDI cables and 4K/UltraHD I/O can be achieved with either a single 12G-SDI or 6G-SDI cable, or quad 3G-SDI cables. 2K/HD I/O can be achieved with a single SDI cable or dual link SDI, while allowing capture and monitoring via SDI to take place simultaneously. The card is available as an active (fan) vs. passive cooling (no fan) model, with both versions supporting RS 422 and LTC Input via headers on the top edge of the card. Other Corvid 44 12G models are available, including low profile versions with HD-BNC connections. www.aja.com/corvid-44-12g-bnc
December 15, 2023
DIT Kevin Shiramizu Manages On-Set Curve Balls with AJA KUMO 3232-12G and Mini-Converters
A liaison between production and post on set, digital imaging technicians (DITs) are the go-to resource for troubleshooting everything from imaging sensors to hard drives, signal paths, and monitors. Doing this while ensuring the director of photography’s (DP) vision is accurately translated to the various production departments puts quite a bit of pressure on the role. According to DIT Kevin Shiramizu, having the right kit in his DIT cart carts goes a long way in keeping everything running smoothly. To help manage inevitable curve balls, he’s integrated an AJA KUMO 3232-12G router and an assortment of AJA Mini-Converters into his cart. The future proof setup provides enough ins and outs, and bandwidth to support 4K HDR live grading and monitoring needs on set, and a way to move between equipment and display formats as needed.
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Working primarily in commercials, Shiramizu says that because his projects are shorter, he continually faces new challenges. “Whether I’m working with a different camera, trying to achieve a set look for the actors, or the project has a certain style, there's a never-ending permutation of factors to make each shoot happen,” he explains. “It’s like trying to solve a trick Rubik’s Cube. As soon as I think I've got it, something changes, and I have to figure that out -- like shooting against an LED wall.
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To help solve those unexpected challenges, Shiramizu has built a several hundred-pound DIT cart with an arsenal of equipment. His setup includes a computer that runs his live grade technology, monitors, and the video signal path from the camera, whether it's wireless or tethered through cloud products. It’s run through LUT boxes, into the computer, through his KUMO router, and distributed to the cart monitors, the DP and directors’ monitors, and the video assist operator, who typically streams it to remote clients. For live grading, he uses Pomfort’s Livegrade and a Tangent panel.
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“As productions get more complex and more people on set want access to live monitoring, having enough ins and outs is critical to keeping things moving, which is why I use KUMO. It gives me so much flexibility and reliability, and the fact that AJA and Pomfort make software integration seamless is awesome for live grading. With 32 ins and outs on the KUMO, I’m excited to move to Livegrade Studio in the future,” added Kevin. “While I mostly receive signals through a wireless video system via SDI into the router, if the wireless receiver is HDMI, I’ll use an AJA HDMI to SDI converter, which is great.”
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Outside of conversion needs for transmitting the wireless signal between the video system and router, Shiramizu must also manage a host of other conversion demands on set, whether it’s monitoring an iPhone, a GoPro, Sony SLR cam, or other capture device. For this reason, he keeps a number of AJA Mini-Converters and distribution amplifiers on his cart. Shiramizu says, “Having a nice quiver of AJA Mini-Converters in my toolkit for those moments has saved the day countless times.”
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He concludes, “Whether KUMO or a Mini-Converter, AJA gear is so reliable and makes me feel prepared for the future, especially as the industry begins shifting toward 4K HDR monitoring, and 12G-SDI becomes more widely adopted on set. I love being ahead of the curve, which is why I’m also looking at integrating AJA ColorBox into my cart for color space and HDR format conversions; I can’t wait to see what it might bring to my workflow.”
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About AJA KUMO 3232 12G
The KUMO 3232-12G router offers increased capacity for medium sized configurations in a compact 2RU profile with support for 12G-SDI/6G-SDI/3G-SDI/1.5G-SDI from 32x 12G-SDI inputs and 32x 12G-SDI outputs. It supports ganged dual and quad port routing control, allowing users to group together multiple inputs and outputs for Dual Link, Quad Link 4K/UltraHD, and 8K/UltraHD2 workflows. The device supports large format resolutions, high frame rate (HFR) and deep color formats, while reducing cable counts when transporting 4K/UltraHD over SDI. It also offers network-based and/or physical control using KUMO CP and CP2, and a USB port for configuring IP addresses via AJA’s eMini-Setup software. www.aja.com/kumo-3232-12g
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About AJA Video Systems
Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
November 30, 2023
AJA ColorBox Achieves RED-CERTIFICATION
Grass Valley, CA (November 30, 2023) – AJA Video Systems today announced that ColorBox has become the first color management and color conversion solution to be certified as Compatible with RED’s lineup of cinema cameras. This designation required rigorous testing across the RED family of products to ensure compatibility.
Since launching last fall, AJA ColorBox has proven an invaluable color management and conversion solution across production environments. For live and scripted television, ColorBox’s RED COMPATIBLE CERTIFICATION LEVEL spans a wide range of RED cameras and ensures production professionals can leverage their preferred camera to capture and color correct footage live. This can be achieved with RED-provided look up tables (LUTs) using the AJA Color Pipeline or RED Log3G10 processing supported by AJA ColorBox’s optional Colorfront license. A third-party hardware control panel like Skaarhoj or Cyanview then allows operators to control either mode with tactile controls akin to those available with broadcast cameras. ColorBox’s RED-CERTIFICATION status also ensures cinema production professionals can seamlessly operate their RED cameras and ColorBox together on set for streamlined HDR/SDR grading.
“ColorBox is the first RED-CERTIFIED product for video processing, and this certification is a huge stamp of approval for color workflows built on RED technology,” shared AJA President Nick Rashby. “Working with the RED team on the certification was highly productive, and we look forward to continuing our work with them in the future.”
AJA will demonstrate these RED and ColorBox workflows, among others, at the Band Pro One World Open House on Thursday, December 7, 2023 from 1-8pm in Burbank, CA.
About AJA ColorBox
AJA ColorBox is a powerful video processing device designed to perform LUT-based color transformations and offers advanced-level color science with AJA Color Pipeline, as well as several look management approaches including Colorfront, ORION-CONVERT, BBC, and NBCU LUTs. Featuring 12G-SDI in/out and HDMI 2.0 out, ColorBox is capable of up to 4K/UltraHD 60p 10-bit YCbCr 4:2:2 and 30p 12-bit RGB 4:4:4 output, perfect for live production, on-set production, and post-production work. ColorBox's browser-based user interface makes it simple to adjust color processing settings, whether connecting directly via Ethernet or via a third-party WiFi adapter. ColorBox is available from AJA’s worldwide network of resellers for $1,995 US MSRP, with optional licenses for Colorfront at $995 US MSRP, the ORION-CONVERT pipeline at $695 US MSRP, and the BBC HLG LUT pipeline at $145 US MSRP. For more information, please visit: www.aja.com/colorbox.
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About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost effective products to the professional, broadcast, and post-production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
All trademarks and copyrights are the property of their respective owners.
November 15, 2023
AJA Announces DRM2 Frame for AJA Mini-Converters at Inter BEE 2023
Tokyo, Japan, Inter BEE, Booth #3209 (November 15, 2023) – AJA Video Systems today unveiled DRM2, a rackmount frame that can house and power up to 12 AJA Mini-Converters of any kind, or up to 24 AJA FiDO Mini-Converters with a new optional DRM2 Y-Cable. Featuring a 200-watt fanless power supply and sleek 3RU design, AJA DRM2 streamlines broadcast, production, and proAV workflows by enabling professionals to rack mount multiple AJA Mini-Converters for signal conversion needs. The new frame will be on display this week in Tokyo at Inter BEE 2023 in the AJA Booth (#3209).
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The next generation of AJA’s popular DRM Mini-Converter rackframe, AJA DRM2 includes customer-requested features like a removable faceplate that allows quick access to the frame. Mini-Converters are mounted to small carriers, which are easily installed or taken out without removing the frame from the rack. 12 carriers are integrated and replacement carriers can be purchased individually or in a 12-pack. The frame’s power cable harness has 13x D5/10-PC connectors and plugs into a connector on the power supply frame, enabling the creation of custom cabling to power whatever users require. A DRM2-AP model includes an optional active faceplate featuring four fans for maximum cooling in higher ambient temperature environments, facilitating high density installation without heat soak concerns.
“Power and space remain key considerations across facilities and mobile production environments as M&E and proAV technologies continue to evolve and workflows grow more complex. AJA DRM2 was designed with both taken into account, providing all the power and space needed to support up to any 12 AJA Mini-Converters,” shared AJA President Nick Rashby. “We’re thrilled to launch the new frame at Inter BEE this year and encourage attendees to stop by the AJA booth to check it out in person.
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Pricing and Availability
Available next month through AJA’s worldwide reseller network, AJA DRM2 ships with a standard passive faceplate and is $1295 US MSRP; DRM2-AP ships with an active cooling faceplate and is $1495 US MSRP. The new optional DRM2 Y-Cable is available for $45 US MSRP each. For more information, visit: www.aja.com/DRM2.
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About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional, broadcast, and post-production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
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All trademarks and copyrights are the property of their respective owners.
October 6, 2023
Katara Studios Upgrades Studio to Support 8K with AJA KONA 5 for I/O
Now that many creative studios have adopted 4K as the production and post standard, demand for 8K support across global creative pipelines is on the upswing. To stay ahead of the curve, Doha, Qatar-based creative shop Katara Studios – which has worked on the FIFA World Cup Qatar 2022 opening and closing ceremonies, and original episodic series “THE PACT,” among other projects – recently completed a facility overhaul, with AJA’s KONA 5 an integral part of the design to enable up to 8K I/O. The updates span Katara Studios’ full Dolby Atmos facility, which supports multi-studio music recording, 5.1 mixing and mastering, and complete post from editorial to VFX and color grading.
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Katara Studios Senior Technical Engineer Thahasin Kasim, who led the redesign, noted that while the studio has been equipped with state-of-the-art technology since its inception in 2018, a recent surge in 6K and 8K client footage brought new challenges tied to encoding and file sizes. The studio’s edit machines could no longer handle projects at that resolution, prompting the need for a complete infrastructure overhaul. The goal of the upgrade was to implement a future-proof setup leveraging the latest technologies while ensuring the highest quality of product possible for clients spanning the music, film, and commercial industries.
“We implemented a host of updates to our pipeline that have helped our entire post team to work faster and more efficiently, and I/O was a big part of that,” shared Kasim. “We looked into new I/O cards and chose KONA 5 because of its ability to handle 8K; the high resolution, high bit rate video processing power that you get with the card is impressive. Also, we’d used past iterations of AJA KONA cards in our audio systems and had good experiences.”
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Katara Studios uses six KONA 5 cards across Windows, macOS, and Linux workstations. Presently, the I/O cards are installed on Thunderbolt 3 PCIe expansion chassis made by Sonnet with Apple Mac Studio, with more cards planned for the second phase of the studio upgrade. Outside of KONA 5, Katara Studios also uses AJA Hi5-4K-Plus Mini-Converters in its color grading suites and KONA 4 audio and video I/O cards to give clients an UltraHD output for review sessions. This combination of products helps the team convert 4K SDI to 4K HDMI and unlocks HDR options through AJA’s Mini-Config software. For Thunderbolt I/O, AJA Io 4K Plus is also tapped by Katara Studios for mobile recordings and shoots outside the studio.
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“Our AJA gear is crucial to ensuring the content we’re monitoring and sharing with clients for review is top-notch. We made the decision to implement KONA 5 as part of the upgrade based on our understanding of its capabilities, reliability, and potential to serve as a future-proof product, and that choice has served us well,” added Kasim.
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During the initial stages of design and research, the team previewed a range of I/O cards to support its Avid Pro Tools-based sound mixing and video post workstations, but Kasim found KONA 5 capabilities to be unmatched. He noted, “KONA 5 is compatible with such a wide range of media production software so it’s easy to integrate anywhere in our post pipeline. Using it with Adobe Premiere Pro, Adobe After Effects, Foundry Nuke, Baselight, Avid Pro Tools, and many other creative applications, we’re able to confidently conduct quality control and preview the output on professional-grade monitors. I’ve also been impressed with the audio mixer add-on within the AJA Control Panel, which significantly enhances the audio monitoring options offered by the card.”
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For Kasim, media management remains the most demanding aspect of the job, especially as technology continues to evolve. He is constantly working to stay on top of the available storage, backup, and archive space across Katara Studios’ facility. He said, “We now deal with terabytes of data, especially with 6K and 8K high bit rate camera rushes in the ingest process. Managing media has become increasingly challenging, especially when the online department requires the highest quality footage for VFX and color grading. Additionally, avoiding data duplication is crucial to prevent filling up storage with duplicated footage in the post pipeline.”
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With the new facility infrastructure in place, Katara Studios has been able to resolve a number of these challenges, and Kasim credits the upgrade to providing artists the efficiency and flexibility to invest more time in their creative work, improving productivity, and accelerating creative output. “Our latest facility overhaul and investment in KONA 5 are allowing us to provide a higher level of service and product quality that will help ensure the sustainability of our facility for the coming years,” he concluded.
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About KONA 5
AJA KONA 5 is a blazingly fast, 8-lane PCIe 3.0 I/O card supporting the latest 12G-SDI I/O and HDMI 2.0 monitoring video connections, designed for the latest workstations running macOS, Windows, or Linux. The versatile I/O solution enables single-cable, 4K/UltraHD high frame rate, deep color, and HDR workflows with many popular creative applications on macOS, Windows, and Linux. Bidirectional 12G-SDI ports provide immense flexibility for capture and simultaneous pass-through, and, with the appropriate software, multi-channel capture and streaming. For developers using the AJA SDK, it offers advanced features including multi-channel 4K I/O and 8K 60p support.
About AJA Video Systems
Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions, and professional cameras, bringing high-quality, cost-effective products to the professional broadcast, video, and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
September 28, 2023
Zeros in Ones Hits the Road with AJA’s Dante AV 4K-R and 4K-T
As founder of video production company Zeros in One, which provides camera and engineering expertise for live concerts and other large-scale events, Jason Harvey understands the importance of reliable kit. In the rock-and-roll business for more than 25 years, he’s collaborated with megastars like Madonna, Lady Gaga, Janet Jackson, Bon Jovi, and Paul McCartney, among others. From the beginning, AJA gear has played a key role in nearly every one of his tour workflows, and his arsenal continues to grow as industry needs evolve. Most recently, he added AJA’s new Dante AV 4K-T encoders and Dante AV 4K-R decoders into the mix for a concert tour.
An early adopter of the technology, Harvey shared, “Dante AV 4K-T and 4K-R are very well suited for live music productions. We’re still putting them through the paces and haven’t fully unleashed their potential, but what we’ve uncovered so far is amazing. They’re going to make a lot of people’s lives much easier, especially as more venues install IP networks.”
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On his current project, Harvey oversees a twelve-camera setup – four manned and eight robot cameras, which capture footage for in-venue display and each show is recorded. Footage is captured in 1080 60p using 3G, totaling about .5TB per camera each night (6TB a show). The raw output goes into media servers, where the concert feed is color corrected and filters are applied; that signal is then fed to LED video screens. Three AJA Ki Pro Ultras handle primary show ProRes recording, with Ki Pro GO doing backup recording to H.264. Ten AJA FiDO fiber optic converters are built into the tour’s rack to run front-of-house optic, while AJA Dante AV 4K-T encoders and AJA Dante AV 4K-R decoders allow Harvey to transmit and receive Dante AV Ultra signals up to 4K/UltraHD, with 12G-SDI and HDMI 2.0 inputs or outputs over standard 1GigE IP networks. Across projects, Harvey also leverages AJA FS-HDR and AJA FS2 frame syncs.
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“The new Dante AV gear has worked flawlessly thus far and we’re just getting started. We’ve already beaten it up in racks with air temps over 40C. We were all melting but the gear withstood the heat,” noted Harvey. “Our FS-HDR is also great because I can input many channels and don’t have to lock in the equipment settings. I can call up the GUI in my web browser and make changes. Some shows start earlier or later so it may be sunny or dark, so I’ll need to adjust color settings accordingly. AJA’s FS frame sync range is lovely and really easy to work with; I like to mix and match the FS2s and FS-HDRs.”
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Post-show, AJA PAK Media solid state drives (SSDs) help simplify data wrangling, allowing Harvey to shift media quickly. He explained, “Unlike film shoots, which have shorter takes and fewer cameras, recording live concerts entails hours-long single takes on as many as 20 cameras. That generates so much data, and I need to be able to shift through it all. With a few PAKs, Thunderbolt 3 PAK docks, two MacBook Pros, and two G-RAID 2 24TB drives, I can move many terabytes of data in a few hours from my hotel room.”
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Every tour stop is different and unpredictable, from the location and venue to the weather and the pyrotechnics. To this end, Harvey must be prepared to manage anything that each high stakes live production environment throws his way. He must have multiple backup plans in place to ensure the show can go on rain or shine. The massive set takes five days to build, so load in and out are executed with military precision, and the show has two stages, which allows the team to leapfrog setups and shorten the duration between shows. As soon as the performance is finished, load out is done in reverse order and the crew is on to the next stop.
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Harvey concluded, “Technology is changing all the time, so it’s nearly impossible to keep pace. That said, I always keep an ear to the ground, because you never know what you’re going to be asked to do next, and AJA gear has been my go-to for nearly 20 years. It’s easy-to-use and bulletproof, even on the road, plus the AJA team listens to their customer and develops gear based on that input. I just love AJA products and keep coming back for more.”
About AJA Dante 4K-T and 4K-R
AJA Dante AV 4K-T and Dante AV 4K-R utilize the new Dante AV Ultra solution that enables networked video to be used alongside the industry leading Dante audio-over-IP platform on standard 1 GigE IP networks. Both devices support Dante AV Ultra signals up to 4K/UltraHD, with 12G-SDI and HDMI 2.0 inputs or outputs. Dante AV provides ease-of-use, seamless multi-vendor interoperability, and an integrated control experience that customers have come to expect from AJA Video and Dante by Audinate. www.aja.com/dante-av-ultra
About AJA Video Systems
Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
September 25, 2023
Astora Digital Builds HDR, Virtual Production Workflow Expertise in China with Help from AJA ColorBox
Digital imaging technologists (DITs) have become paramount to productions in recent years as virtual production, HDR, and remote work have brought new technologies and challenges to on-set and post workflows. While common in the West, the DIT role is still emerging in China. Beijing-based Astora Digital, founded in 2020, is working to establish DIT standards in the region to support film, television, and advertising productions in transitioning to new models. The company provides video technology, workflow solutions, and post services to advertising agencies and film production companies, primarily in Beijing, Jiangsu, Zhejiang, and Shanghai.
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Across projects, Astora Digital’s team serves as the backbone of the production crew, functioning as a data and quality control center and applying state-of-the-art technology on-set to support the creative aspects of production. Their mission is to ensure smooth communication and collaboration across departments while seamlessly integrating digital and artistic creativity. For this, they’ve come to rely on a pipeline built with tools like AJA ColorBox, Io 4K Plus, KONA 5, HELO Plus, and Corvid 44 12G, plus significant technical expertise.
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Since SDR is still the primary deliverable in China, Astora Digital designed its pipeline to support simultaneous SDR and HDR production, including monitoring and adjustment. With an increase in camera setups, the team knew more equipment would be needed, making it a significant challenge for the DIT department in terms of stable operation and signal management in fast-paced shooting environments. Traditional products lacked support for high-precision LUTs, but AJA ColorBox, a compact, high-performance HDR/SDR converter, provided a solution.
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Commenting on the decision to use ColorBox, Color Manager Lucas Lin, noted, “Previously, we’d need to prepare several LUT boxes to process SDR and HDR signals simultaneously. With ColorBox, we only need one unit to achieve real-time SDR and HDR monitoring on a single line. It simplifies our workflows and makes the process more straightforward and manageable.”
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Although Astora Digital tailors each workflow to the project, they almost always start with a Log C camera signal that goes through a 12G-SDI router to color grading. The AJA ColorBox Colorfront pipeline then supports HDR to SDR conversion, allowing the director and director of photography (DP) to monitor HDR and SDR simultaneously. Their capture equipment and routers are all equipped with 12G-SDI connectivity, including the main control-level monitors although on-site video transmissions remain processed at 1080p, 24 frames per second due to hardware limitations.
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Astora Digital provides sample processing at 4K or up to 8K HDR based on the original sources given. These samples are used for directors to review and DPs to assess results. Despite hardware constraints, their setup is designed to ensure high-quality output. The high-resolution samples that the Astora Digital team provides for review and guidance enable the creative team to make more informed decisions during the daily filmmaking process.
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ColorBox is often also employed by the team to perform real-time color adjustments based on the camera output to achieve the expected color effects. Doing so establishes a strong foundation for post and contributes to maintaining color consistency, ensuring captured footage aligns with the intended visuals. Calling out the AJA Color Pipeline as a key advantage of ColorBox, Lin said, “The AJA Color Pipeline enables us to uphold color consistency across every stage of production, providing valuable support for cinematographers to supervise LED color control in virtual production work. ColorBox also supports LUT accuracy and can stack 1D LUTs, which is crucial in making ColorBox unique.”
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Being able to stack 1D LUTs gives Astora’s team more flexibility for gamma mapping and adjusting the gain of the RGB channel. They can easily resolve the common LED shooting issue known as “homochromatic metamerism” using 1D LUTs for visual matching and correction, whether for black balance or color saturation. Lin added, “In an HDR workflow, the requirements for LUTs precision are extensive. With ColorBox, we’re able to apply the highest specification LUT (33pt), which significantly reduces issues like posterization in high-brightness and high-saturation work scenarios.”
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For a recent HDR visual effects film project, “Maddog Aria”, the team developed SDR and HDR full-process monitoring, and live color grading on-set based on the director’s requirements. They unified the colors between pre-production and post-production, using the ACES standard for on-set color management for pre-production and applying color grading and VFX color management for post. On other projects, they’ve leveraged a custom integrated video assist system with AJA hardware components to use with Live Grade Studio and QTAKE.
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Astora Digital CEO Marco Wang explained, “ColorBox offers a wide range of down-conversion solutions from HDR to SDR. By integrating ColorBox into our signal processing chain, we were able to optimize our LUT box resources significantly. ColorBox’s real-time and automatic signal conversion capabilities reduced the time and cost of equipment, allowing us to focus on on-set HDR color grading. And after setting the desired HDR style, we only need to make minor adjustments to the ColorBox’s conversion parameter.”
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In addition to using its video assist system for film and television production and post, Astora Digital also taps it for live broadcasting and recording, leveraging the AJA Io 4K Plus and KONA 5 with OBS for live streaming HDR video on platforms like YouTube. They also use other AJA products to record HDR content for hosting gaming programs.
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Harnessing technology from AJA, and ColorBox in particular, has allowed Astora Digital to elevate the quality of services it provides in the fast-changing world of film and television production, which in turn, elevates their clients’ work. Astora Digital Workflow Manager Edge Dong concluded, “ColorBox really stands out as the only on-set color management device available to integrate multiple powerful features with a plug-and-play user experience. It contains the trusted reliability that the AJA brand is known for while incorporating robust built-in color processing pipelines like the AJA Color Pipeline and the highly acclaimed Colorfront pipeline, along with many other powerful functionalities. We’re thrilled with the benefits it’s brought to our daily operations.”
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About AJA ColorBox
AJA ColorBox is a powerful video processing device designed to perform LUT-based color transformations and offers advanced-level color science with AJA Color Pipeline, as well as several look management approaches including Colorfront, ORION-CONVERT, BBC, and NBCU LUTs. Featuring 12G-SDI in/out and HDMI 2.0 out, AJA ColorBox is capable of up to 4K/UltraHD 60p 10-bit YCbCr 4:2:2 and 30p 12-bit RGB 4:4:4 output, perfect for live production, on-set production, and post-production work. ColorBox's browser-based user interface makes it simple to adjust color processing settings, whether connecting directly via ethernet or via a third-party WiFi adapter.
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About AJA Video Systems
Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions, and professional cameras, bringing high-quality, cost-effective products to the professional broadcast, video, and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
September 8, 2023
Nits.Lab Taps AJA Gear to Help Filmmakers Explore the Creative Possibilities of HDR
With its brighter highlights and wider color gamut, high dynamic range (HDR) is providing another creative avenue to immerse audiences in their stories. Demand for the advanced format has been growing steadily in Latin America in recent years, a trend that Brazil-based independent creative studio Nits.Lab recognized early on. The studio launched earlier this year to provide HDR-capable Digital Imaging Technician (DIT) and post-production services to clients in Latin America. With the help of AJA technology like ColorBox, its team is supporting commercial, episodic, documentary, and feature productions across the region to embrace this evolving storytelling format and unlock its myriad narrative advantages.
“We do most of our work in SDR, but client preferences are slowly shifting to HDR,” said Nits.Lab Co-Founder Rodrigo Bodstein. “It’s gaining momentum here in Brazil as the major streamers show the narrative possibilities of HDR, and quite a few of the larger studios, as well as a few post houses, are already experimenting with HDR delivery. We’re working to help the market transition, and make HDR more accessible here. We want to give professionals the tools they need to get up to speed on HDR and explore its narrative implications, so they can continue pushing content forward visually.”
To support its mission, Nits.Lab built a state-of-the-art facility and DIT cart including two AJA ColorBox color converters, an AJA Io 4K Plus for I/O, and an AJA KUMO 3232-12G router to help manage color across SDR and HDR productions. For on-set work, its two-person crew leverages the DIT cart technology alongside a range of monitors. The Colorfront Engine and the AJA Color Pipeline in ColorBox are used for transformations when reviewing SDR and HDR content side by side, in addition to the Colorfront streaming server for remote reviews. The team also anticipates adding a third ColorBox into its studio color suite to be able to send signals to another TV for client viewing.
Nits.Lab’s workflows vary on a project basis and whether or not they’re in the studio or on-set, but each is designed around 12G-SDI routing. In one of its designs, a Mac Studio is the main station for live grading, while a MacBook Pro supports ingest and offload. An AJA KUMO 12G-SDI router sits at the center of the signal path, giving the team full control over signal distribution and routing. They set up a salvo for each specific workflow on the KUMO, enabling them to save different profiles for different types of work. For example, one salvo is set up for live grading, one for broadcast, and another for color grading, color correction, VFX, and editing work.
For live grading, the inputs and outputs of two AJA ColorBoxes, an AJA Io 4K Plus, and two Sony monitors are linked to the KUMO. Camera signals are fed through the AJA KUMO router into the Io 4K Plus and through the ColorBoxes to the monitors. One monitor is set in SDR and the other in HDR. The NitsLab team uses Pomfort Livegrade Pro software to control the dynamic LUT in the AJA Color Pipeline in ColorBox. Since its work is typically centered around an ACES pipeline, Nits.Lab regularly leans on the integration of Pomfort Livegrade Pro and Pomfort Silverstack Lab to create dailies with all the demands for each client (burn-ins, metadata etc.). This helps ensure color consistency throughout the process.
Commenting on the workflow, Nits.Lab Co-Founder Rafael Lopes said, “It’s important for project stakeholders to be able to see HDR footage alongside SDR footage. They may not need to understand how the PQ curve works, or why 12-bit signals are necessary, but they need to feel the difference and how it impacts the final product. We want them to see how they can control the image with HDR, even if some lenses have flares in HDR that don’t work. AJA solutions, in tandem with Colorfront, help us achieve this and are amazing at shaping HDR in live and on-set situations. We love and use them both a lot.”
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Nits.Lab also taps AJA Io 4K Plus for computer I/O, which includes four bi-directional 12G-SDI inputs, to send test patterns to its monitors for some HDR projects that require express captures for dailies. Outside of its 12G-SDI workflow demands, the team also uses the Tangent Wave control panel, a Stream Deck where they keep shortcuts, RAID storage, and a 40TB drive for backup and transport. All this technology is connected to a Mac Studio M1 Ultra with 128GB RAM via ethernet via a switch. A CalDigit TS4 hub with the pro-grade media readers and the MacBook Pro M1 Max with 2TB and 64GB RAM are also part of the workflow design. In addition to these tools, for remote workflows, Nits.Lab also employs the Colorfront Streaming Server, a cloud media management and collaboration tool, and the Pomfort ShotHub.
Both Lopes and Bodstein enjoy leveraging these powerful setups in their day-to-day work with clients. Said Lopes, “Our goal is to help clients get comfortable with HDR, and have room to experiment live. Our AJA solutions are a key enabler in this respect as they make it easier to propose new options and color tests for clients. The real-time ColorBox pipeline is essential. We can experiment on set, see the results, adjust in real time, and easily pass guidance and direction along to the post facility in the color suite for greater look consistency. Knowing the vision, the look you established and recorded on set, and that the intent will be carried through until final delivery is invaluable.”
Bodstein concluded, “I get a thrill from balancing the colors and seeing the impact it has on people’s emotions in a collaborative environment, especially when everything just locks into place, and it feels right. It’s like we’re designing feelings, and that’s truly a rewarding job.”
Nits.Lab is trailblazing HDR workflows in Brazil, and publishing their test results as a guide for other professionals to use and to help build HDR knowledge in the region. More information about the company is available via www.nitslab.com.br or @nits.lab on instagram. Nits.Lab tests are published here: https://medium.com/@nitslab.
September 6, 2023
AJA Unveils IBC 2023 Lineup Introducing New Products and Updates
Ultra-low latency KONA X I/O card, HDR Image Analyzer v3.0 update, and new 12G-SDI OpenGear audio and HDMI conversion solutions to streamline M&E and proAV workflows
Grass Valley, CA (September 6, 2023) – AJA Video Systems today announced new products and updates that will be on display at the International Broadcasting Convention (IBC) from September 15-18, 2023, at the RAI in Amsterdam, AJA Stand 7.C19. Designed to help M&E and AV professionals keep pace with evolving formats, protocols, and codecs and other modern workflows demands, the new solutions boast advantages like ultra-low latency, improved color management and quality control (QC) capabilities, NDI and 12G-SDI connectivity, and more. AJA’s next-gen KONA X audio and video I/O card features built-in streaming DMA that provides as low as subframe latency video capture/playback and debuts alongside new Desktop Software v17. HDR Image Analyzer 12G v3.0 software introduces a host of powerful new features for the HDR monitoring and analysis solution, while several new openGear cards pack powerful 12G-SDI audio and HDMI conversion functionality into an openGear rack frame-compatible form factor.
“Innovation remains a key focus at AJA, where we’re continuously working with customers, product managers, and our engineering team to ensure that we deliver solutions that address the unique needs of the M&E and proAV communities, which evolve rapidly,” shared AJA President Nick Rashby. “KONA X, HDR Image Analyzer v3.0, and our new openGear solutions provide powerful functionality that will serve AJA customers today and into the future. We’re thrilled to share what we’ve been up to behind the scenes these last few months and invite attendees to come see the results in-person at the show.”
KONA X and Desktop Software v17
Compatible with new AJA Desktop Software v17 and version 17 of AJA’s world-class software development kit (SDK), AJA KONA X is a 4-lane PCIe 3.0 card offering ultra-low latency video capture and playback for applications spanning M&E, live production, OEM development, and more. Combining bi-directional dual, full-size BNC 12G-SDI and dual HDMI 2.0 connections, KONA X boasts all the tools required to meet a broad range of I/O demands. An optional KONA Xpand board sits alongside KONA X and brings even more connectivity, such as AES/EBU audio, LTC, REF, and more. KONA X will be available alongside a free Desktop Software v17 update in Q4 2023 via AJA’s worldwide reseller network for $3,695 US MSRP. The optional KONA Xpand expansion board is expected to release simultaneously for $595 US MSRP.
HDR Image Analyzer 12G v3.0 Software
Delivering powerful new features for AJA’s popular HDR Image Analyzer HDR monitoring and analysis solution, the latest, free HDR Image Analyzer 12G update introduces several new workflow capabilities to help professionals keep pace with evolving demands across live, on-set, QC, and post production environments. It increases the volume of video channels that can be analyzed simultaneously, integrates new Dolby Vision tools, adds NDI connectivity options, expands support for the latest ARRI color science with ARRI LogC4 analysis, and enhances 8K/UHD2 compatibility for high-resolution workflows. The update will be available September 2023 as a free download for HDR Image Analyzer 12G users.
AJA 12G-SDI openGear Solutions
AJA OG-12G-AM and OG-12G-AMA enable 16-channels (eight two-channel pairs) of AES/EBU and analog audio embedding/disembedding respectively, and support 12G-SDI input and output up to 4K/UltraHD. AJA OG-Hi5-12G and OG-HA5-12G cards facilitate 12G-SDI conversion to/from HDMI 2.0, and are also available in LC and ST Fiber models. Each hot-swappable card is built for use in high-density openGear 2RU frames, including AJA OG-X-FR, offers intuitive remote control via support for Ross DashBoard software on Windows®, macOS®, and Linux®, and includes a five-year warranty. AJA’s new 12G-SDI openGear solutions will be available in September 2023 with the OG-Hi5-12G and OG-HA5-12G starting at $999 US MSRP, and the OG-12G-AM and OG-12G-AMA available for $1245 US MSRP each.
Learn more about AJA’s latest product releases and updates via AJA’s What’s New Page, or visit AJA’s IBC Stand (7.C19) at the Amsterdam RAI.
September 5, 2023
Spin Digital Delivers VVC Support for 8K Encoder/Decoder Built with AJA Video I/O Cards
Media solutions provider Spin Digital is rapidly envisioning new 8K video production systems as demand takes off across the world. Headquartered in Berlin, Germany, the company also holds a presence in Japan, a region driving 8K workflow adoption in broadcast. Its high performance video and audio encoding/decoding solutions and media players, which leverage AJA PCIe cards for high-quality video I/O, are used in a range of applications from broadcasting to VR live streaming in 8K up to 120 frames per second (fps), displaying 16K content on video walls, and more. Continually expanding its capabilities to address industry needs, ahead of IBC 2023, the company announced an update to its live production encoder, Spin Enc Live, and the associated SDK, Spin SDK, which adds support for the Versatile Video Coding (VVC) codec, also known as H.266.
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Spin Enc Live initially launched as an 8K 60 fps encoder for live production supporting HEVC (H.265). With the latest update, Spin Enc Live is now capable of 8K VVC encoding. Depending upon the customer’s needs and preferences, they can opt to use HEVC, or choose VVC to proficiently manage 8K HDR footage at 60 fps. To enable SDI input, Spin Enc Live is integrated with AJA Corvid 44 12G and KONA 5 PCIe cards. Corvid 44 12G serves as the main capture device for live production, while customers using desktop systems leverage KONA 5. Both cards provide crucial functionality in a compact format and with quad 12G-SDI connection, enabling the encoding solution to capture uncompressed signals for seamless video and audio processing.
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“We developed the latest update for Spin Enc Live and Spin SDK, in part, based on customer demand, but also because we see VVC as the next generation of encoding technologies. Currently, the VVC encoder achieves a 25 percent reduction in bitrate, while maintaining pristine visual quality,” explained Spin Digital CEO Mauricio Alvarez Mesa. “We carefully selected components for our solution, including the AJA Corvid 44 12G and KONA 5 cards, which are ideal for live 8K applications and help us to capture 8K video at 60 fps with 10-bit HDR and the associated audio with very low delay and high reliability.”
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Spin Enc Live is well-suited for companies pursuing 8K live streaming for concerts, events, and other venues. Incredibly reliable, it has supported continuous live streaming for more than 20 hours a day for a range of high stakes projects. Spin Digital has also been helping museums and planetariums that are upgrading or adopting 8K displays to deploy the solution. Across all applications, efficient video compression, unparalleled quality, and support for high frame rates are required, and with AJA Corvid 44 12G and KONA 5 integrated into the solution, Spin Digital is well-positioned to support the demand.
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“8K video doesn’t make sense if it's marred by compression issues and poor image quality. Our solution stands out in our software implementation approach, which focuses on optimizing performance so clients can achieve real-time 8K encoding without compromising on quality,” he shared. “With Corvid and KONA cards for input into our encoder for processing, we can easily capture frames without worrying about hidden or unexpected processes. The cards have also demonstrated excellent HDR signal input, whether dealing with PQ or HLG. We can effectively and reliably capture the metadata from the cards and seamlessly transmit this metadata through our encode.”
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AJA Corvid 44 12G and KONA 5 also provide more flexibility for Spin Digital’s customers interested in less traditional high-resolution formats, such as panoramic images, which involves stitching together four 4K cameras to generate a 16K by 2K image. Customers can input 2x2, 4x4, or 1x4 configurations, and can also capture 16 channels of audio within one SDI link and another 16 channels within another for high-end 3D audio formats such as the 22.2 format used in Japan.
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A longtime user of AJA gear, Alvarez Mesa concluded, “We’re big fans of AJA equipment and even use AJA KUMO 12G-SDI routers in our work with live production clients managing multiple incoming sources. We’ve also leveraged the Hi5-12G Mini-Converter, which helps for monitoring the SDI output of our 8K media player, for system testing, and it’s worked incredibly well. We’re happy to be part of the AJA Developer Partner program and with the level of support they’ve provided throughout our journey; we always get clear, timely answers to our questions, which is and will remain paramount to our business.”
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About Corvid 44 12G
AJA Corvid 44 12G is a blazingly fast, compact 8-lane PCIe 3.0 I/O card with four bidirectional 12G-SDI HD-BNC connections. Designed for today’s most demanding video and audio workflows, Corvid 44 12G is available in several configurations, including full-height or low-profile, with passive or active cooling. Whether working with HFR 8K/4K/UltraHD, 2K/HD, SD, Deep Color and/or HDR, Corvid 44 12G provides unprecedented performance. Supporting 10-bit 4:2:2 and 4:4:4, at up to 12-bit color spaces, the card offers ingest and output over 12G-SDI, which is also backwards compatible with 6G-SDI, 3G-SDI, and 1.5G-SDI. Bidirectional 12G-SDI ports provide immense flexibility for capture and simultaneous pass-through for a range of solutions.
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About KONA 5
AJA KONA 5 is a blazingly fast, 8-lane PCIe 3.0 I/O card supporting the latest 12G-SDI I/O and HDMI 2.0 monitoring video connections, designed for workstations running macOS, Windows or Linux. The versatile I/O solution enables single-cable, 4K/UltraHD high frame rate, deep color, and HDR workflows with many popular creative applications on macOS, Windows, and Linux. Bidirectional 12G-SDI ports provide immense flexibility for capture and simultaneous pass through, and, with the appropriate software, multi-channel capture and streaming. For developers using the AJA SDK, it offers advanced features including multi-channel 4K I/O and 8K 60p support.
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About AJA Video Systems
Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
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About Spin Digital
Spin Digital Video Technologies GmbH (Spin Digital) develops high-performance video codecs for the next generation of ultra-high-quality video applications. Spin Digital software solutions enable media applications that require the latest image and video processing enhancements including very high resolution (4K, 8K, and 16K), high dynamic range (HDR), high frame rate (HFR), wide color gamut, and 360° video and virtual reality. Spin Digital is based in Berlin (Germany), and operates in an international B2B environment, collaborating with customers and partners around the world and across market segments. For more information, visit: https://spin-digital.com/
August 23, 2023
AJA KUMO 3232-12G Provides the Routing Backbone for DIT Eli Berg
Whether working on Academy Award-winning feature “Jojo Rabbit,” 1970s comedy series “Minx,” or countless commercials, freelance digital imaging technician (DIT) Eli Berg is a trusted resource on-set. He ensures the proper on-set workflow and setup for capturing the cinematographer’s vision, a role he’s served for 15 years and counting. While Berg customizes his technical approach for each project, AJA’s KUMO 3232-12G SDI router remains a key fixture in his DIT cart.
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On projects, Berg’s workflow typically includes a camera connected to a color box, so the DP can monitor the live grade on their onboard camera monitor. That image is also fed to his cart, usually in 4K, or more recently 6K, and directly into KUMO. From there, he sends the signal directly to monitors since it’s already live graded via the color box affixed to the camera. It then goes back into the KUMO to his monitors to VTR, and into his computer via an input card, then back out of the computer into KUMO again, so that he can share the image from his live grading tool of choice. Another monitor feed from his cart also goes through the KUMO and to his waveform monitor.
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“KUMO 3232-12G is the linchpin of my entire cart; it’s rock solid and made set up a breeze with the salvos,” said Berg. “I’ve worked on big, slow-moving features and rapid-fire commercial projects on which I’m downloading and transcoding on my own. KUMO is so useful, because it has so much functionality built in, whether I’m doing it all on my own for a project, or I need to route signals to multiple destinations.”
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Prior to integrating KUMO 3232-12G, Berg was using a 12x12 router and had to patch gear together with splitters because he lacked sufficient inputs. Now, KUMO 3232-12G is the first stage of any routing workflow and the single device has replaced his previous multi-gear setup. Berg also upgraded all his cables to 12G-SDI so that he’s able to monitor in 4K, whether or not the project requires it.
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“It’s my responsibility to make sure the DP and camera crew are completely focused on the creative aspects of production, so I’ve customized my cart to be ready for any situation,” Berg concluded. “When a piece of gear isn’t working properly, I’m limited to what I can contribute creatively, because I’m stuck troubleshooting, so I prioritize gear that I know will work every time, like KUMO 3232-12G. It’s fantastic and I never worry about it failing on me.”
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About AJA KUMO 3232-12G
KUMO 3232-12G offers increased capacity for medium sized configurations while maintaining a compact 2RU profile with support for 12G-SDI/6G-SDI/3G-SDI/1.5G-SDI from 32x 12G-SDI inputs and 32x 12G-SDI outputs. It supports ganged dual and quad port routing control, allowing users to group together multiple inputs and outputs for Dual Link, Quad Link 4K/UltraHD, and 8K/UltraHD2 workflows. KUMO 12G-SDI routers support large format resolutions, high frame rate (HFR) and deep color formats, while reducing cable counts when transporting 4K/UltraHD over SDI. The routers offer network-based and/or physical control using KUMO CP and CP2, and mirror the physical form of AJA’s production-proven KUMO 3232 and KUMO 1616 routers, with a USB port for configuring IP addresses via AJA’s eMini-Setup software. Built to the same quality standards as all AJA products, KUMO 3232-12G is the ideal choice for any situation where a balance of size and capacity are critical, such as mid-sized post facilities and mobile trucks. www.aja.com/kumo-3232-12g
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About AJA Video Systems
Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
June 22, 2023
DIT Sam Petrov Taps AJA ColorBox for Live Grading Flexibility On-set
Whether working on a feature film, episodic series, or unscripted show, crafting the look of content before it reaches post requires technical acumen and a creative eye. The DIT (Digital Imaging Technician) is integral to this process, bridging the technical realities with the creative goals on-set to ensure the team can achieve its desired aesthetic early in the process; the role is especially vital now that virtual production has brought typical post production work into the production process. Local 600 DIT Sam Petrov has made a name for himself in doing exactly that for a wide range of scripted and unscripted projects. A self-proclaimed technology geek, Petrov stays on top of how the DIT role is evolving within the larger on-set environment and is hyper-aware of the dynamic nature of the technology involved. While he customizes the technology he uses for each project, he’s begun leaning into AJA ColorBox for setup and look management with live grading.
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Petrov recently wrapped up an unscripted dating series for a popular streaming platform, setting the initial look for the season and ensuring it worked across all the different components of the show. The production leveraged more than 30 digital cinema cameras in addition to a similar quantity of robotic (robo) cameras. Several of the cameras recorded up to 70 terabytes of 4K footage to AJA Ki Pro Ultra 12G ProRes and DNx recorder/players a day, and the AJA ColorBox in-line HDR/SDR algorithmic and LUT color transform box supported live grading on-set in 1080 SDR.
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“ColorBox gives us the confidence that the look of all the different camera angles match up; it’s powerful, robust, and cost-efficient, and fills a real niche,” explained Petrov. “Our profession has long awaited a device like this. Just having the ability to generate a signal up to 4K and test a system is invaluable.”
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Working closely with a team, he helped establish the look for a range of motifs and scenes used for the studio portion of the show, such as a lounge where dates are held and the hallway for transition shots. Together, they applied set looks across the different cameras, each with its own unique characteristics and color science. Petrov spent time matching the different cameras in the context of the available hardware on-set. Given the scale and genre of the show, he didn’t reside at his traditional DIT cart but instead worked in an entire tech room, which included equipment like the Ki Pro Ultra 12Gs. Equipment operators ensured that there were no signal errors, and that recordings were happening at the right time, among other tasks.
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The workflow and interactions on-set diverged from traditional film or even episodic projects. With so many cameras, hardware, coloring gear, and other technology on his latest project, Petrov would go into the tech room early and collaborate with the lighting director, technical supervisor, and other team members to examine all the technical aspects of the project from resolution to creative. He was one of several key people involved in executing the creative and technical look for the cameras, the show, and different motifs.
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“In post, it’s important to have a holistic understanding of processes, workflow, and ultimate vision, so as I moved from post to set in my career, I found myself working upstream. When looking at the screen for a project like this, I know from a coloring standpoint the things I need to watch out for and can course correct earlier in the process, and a product like ColorBox is helpful in this respect,” Petrov shared. “It’s really fun to be able to get the dynamic feedback that ColorBox supports in this environment. I'm able to live grade without having to worry about running into limitations. While I’m currently monitoring and coloring most projects in 1080, having the ability to also work in 4K as it becomes more prevalent is a huge advantage.”
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For live grading, Petrov set up his hardware, including the ColorBox, in the tech room, and the team provided a line with a dedicated router, so he could choose the sources coming into his system. This made it easier to work with the show director and lighting director to examine all the various setups and cameras. Once they’d established a base look that they were happy with, the team could quickly switch between cameras to compare, with the live grading aspect in mind, so they knew how it would look from another angle in the exact same space or the same angle but in a different room. This flexibility was paramount with filming taking place across a dozen identical rooms, all with analogous camera configurations; Petrov had to ensure everything correlated from one space to the next.
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With ColorBox, Petrov can pull out a single standalone device and get to work. He continued, “ColorBox is just fantastic. I simply navigate to the web UI and can crank out a color test pattern, then change different frame rates to whatever we need for the technical standard. I know we’re getting exactly what’s needed from the hardware before we even get to the creative side of color.”
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He also finds the ability to stack multiple ColorBoxes and generate different signals with different test patterns, resolutions, or frame rates useful. It allows for flawless execution in the moment when Petrov and the team need to shift focus to more time-sensitive work. “Having a tool like ColorBox is a huge boon to my work,” he concluded. “It gives me peace of mind and makes it easier to deal calmly with situations that would normally present nuanced challenges.”
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About AJA ColorBox
AJA ColorBox is a powerful video processing device designed to perform LUT-based color transformations and offers advanced-level color science with AJA Color Pipeline, as well as several look management approaches including Colorfront, ORION-CONVERT, BBC, and NBCU LUTs.Featuring 12G-SDI in/out and HDMI 2.0 out, AJA ColorBox is capable of up to 4K/UltraHD 60p 10-bit YCbCr 4:2:2 and 30p 12-bit RGB 4:4:4 output, perfect for live production, on-set production, and post-production work. ColorBox's browser-based user interface makes it simple to adjust color processing settings, whether connecting directly via Ethernet or via a third-party WiFi adapter.
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About AJA Video Systems
Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
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All trademarks and copyrights are property of their respective owners.
June 15, 2023
S4 Studios Achieves Perfect Sync for Virtual Production with AJA GEN10 and HTC VIVE Mars CamTrack
S4 Studios is a one-stop-shop for virtual production and visual effects, with a studio in Los Angeles and a virtual production stage up the road in Canoga Park. Founded in 1999 as a design and VFX studio, the company moved into virtual production and in-camera visual effects (ICVFX) two years ago. Today, S4’s stage is highly trafficked between commercial, music video, in-car, film, and TV projects. To keep its LED walls, cameras, computers, and HTC VIVE Mars CamTrack system in sync, the studio relies on the AJA GEN10 HD/SD/AES sync generator.
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The 2,300-square foot stage comprises a three-wall setup, geared toward in-vehicle processes and smaller budget-conscious productions. S4 Studios Owner and Creative Director Geoffrey Kater explained, “Virtual production doesn’t have to cost $50K a day, and we want people to understand that. Our stage is designed to let clients come in and shoot two or three locations in the same day without having to go anywhere. We swap out the locations for you, and you have complete control over the set. Then you leave with your final pixels.”
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In-studio, computers are equipped with NVIDIA Quadro cards with sync options, so that down the chain they can all be synced together on the wall. Getting media into the LED processors is the next step, then projecting that media onto the wall. Tracking is handled by the HTC VIVE Mars CamTrack system. “With the size of our stage, Mars is absolutely perfect,” Geoffrey Kater said. “We hung the base stations up in a grid at about 10 by 10 meters, so it works perfectly for the amount of shooting that you can do in there.”
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The next step in the process is getting the tracking to work on the client’s camera and accessing the media from the shoot. When S4 initially set up their pipeline, they quickly discovered that images were tearing due to sync issues and began searching for a solution. He added, “The whole genlock thing is kind of new to me, coming from visual effects, so as I was experiencing sync challenges, I took to the Mars Facebook Group where I found it was a fairly common issue, and that’s where someone suggested the AJA GEN10 sync generator as a solution.”
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“We got the AJA GEN10, configured the little dip switches on the back, plugged everything in, and all of a sudden there was no more tearing, no more lines, everything was synced,” Geoffrey Kater continued. “The walls, the camera, the computers, and the Mars tracking system all synced at 24. And it was beautiful, amazing. We had finally figured it out with this magic box that we could plug in and forget.”
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Genlock is now part of S4’s client prep consultation whenever they shoot on the stage, especially when clients haven't worked with genlock. Geoffrey Kater and team make a point to explain why it’s important to the client, then bring them in to test their camera, because every camera is different. Some are fine without genlock, but S4 recommends it as a safety precaution. He concluded, “With the AJA GEN10 sync generator and HTC VIVE Mars CamTrack, I know that we are covered and all of our computer equipment, walls and everything are in sync. That's the most important aspect of it for me.”
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About AJA GEN10
The GEN10 is a cost effective and flexible HD/SD/AES sync generator featuring seven outputs including two groups of independently controlled HD/SD sync outputs and one AES-11 output. SD outputs can be switched between Color Black or Color Bars. HD tri-level sync can be switched between 19 different HD formats. The AES-11 output can be switched between SILENCE and TONE. All outputs are in sync with each-other and are sourced from an accurate master time base. www.aja.com/gen10
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About HTC VIVE
HTC VIVE is the premier virtual reality (VR) platform and ecosystem that creates true-to-life VR experiences for businesses and consumers. The VIVE ecosystem is built around premium VR hardware, software, and content. The VIVE business encompasses best-in-class XR hardware; VIVEPORT platform and app store; VIVE Enterprise Solutions for business customers; VIVE X, a US$100M VR business accelerator; and VIVE ARTS for cultural initiatives. For more information, please visit www.vive.com.
About AJA Video Systems
Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
June 6, 2023
Funicular Goats Raises the Bar for Cinematic Multi-Camera Production Workflows with AJA Gear
Multi-camera cinematic production solutions shop Funicular Goats turns heads, both for its noteworthy credentials and memorable name. Since launching in 2019 with co-founding trio Morgan Kellum, James Coker, and Aaron Cooke at the helm, the company has quickly established a stellar reputation across the live event, broadcast, and streaming production communities. Its unmatched multi-camera equipment, workflow, and technical management expertise is tapped for an array of projects, including big-name concert productions, the annual big game halftime show, comedy specials, and more. Funicular Goats embeds itself in every project from beginning to end, using a proven cinematic multi-camera workflow as a starting point, which includes all the standard tech for moving signals throughout the chain and live grading – including AJA equipment.
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Typically, producers reach out to Funicular Goats directly regarding projects, but the company also receives inquiries from tech managers, directors, and DPs. Its team works closely with all key project stakeholders to plan a well-thought-out, multi-camera workflow design, and the encompassing tech – including cameras, comms, the engineering fly pack, cameras, wireless systems for the cameras, transmission (digital, broadcast, or satellite) fiber infrastructure, and on-set monitoring solutions. Projects average 10-20 cameras per show, but the team has worked on projects involving up to more than 30 cameras.
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Across productions, Funicular Goats must manage different elements and workflow refinement, but ninety percent of the time, the project demands live grading, which means AJA FS-HDR real-time HDR/WCG converters are on set. Running a camera log feed through the FS-HDR allows the team to achieve a more comprehensive range of RGB to build a better look than using just an RCP camera control alone.
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“Productions are often looking for ways to execute their projects but aren’t certain how to do it, so they lean on us. We advise them on how to make it happen and help them achieve the look they’re aiming for in the most efficient way,” shared Morgan. “We have a comfortable history of doing shows in certain ways and using specific tools (like FS-HDR for live color grading and frame sync), so we'll lean into that, but we also figure out how to modify the workflow and our fly packs and fiber systems to suit each client’s specific needs."
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Projects typically require SDR delivery, but Funicular Goats is seeing HDR requests grow, especially for concert productions and larger scale event broadcasts. To this end, FS-HDR has become a Swiss army knife for the team. James shared, “We love FS-HDR, from its redundant power to the fact that we can count on it to do what it’s supposed to without fail. It has great features for everything from embedding to frame syncing and live grading; it does it all.”
FS-HDR also supports conversion needs across Funicular Goat projects. The team may need to use it to help step down a 12G-SDI or 6G-SDI feed from a cinema camera to 1080 for viewing, as well as for coloring and recording. The device also enables frame rate conversion, which the team will leverage when moving from 24p to a broadcast standard for a truck workflow. They might bring back a log feed 23.98p that will hit their distribution amplifier (DA) and into a switcher where they cut 23p. Out of the DA, that feed might go to the FS-HDR, where they can then go 29.9p and elsewhere with it to a line cut, and cut 29.97p for broadcast.
In addition to live grading, recording is essential to Funicular Goats’ workflow designs. The team often completes 4K recordings with a cinema camera, with a 1080 workflow out for a reference line for added flexibility. If delivering a 1080 project, they’ll record the loaded or color corrected 1080 files to AJA Ki Pro Ultra 12G ProRes and DNx recorders/players. This approach ensures they have a master finish of the project as well as the 4K log footage to work with. If footage is already color corrected, Funicular Goats can do an online cleanup with those files or edit with them as well. They may opt to use Ki Pro Ultra 12G as a quad HD recorder for four 1080 feeds on one project, or for backup 1080 recordings, ISOs of the cameras, or to create multiple copies of a program or multiple views on others. Sometimes, they’ll even do a 6G-SDI or 12G-SDI into the Ki Pro Ultra 12G. When they need to hand off thumb drives with H.264 recordings after an event, they often use AJA Ki Pro GO.
“We love our Ki Pros because they’re so flexible; they give us a lot of options and provide a cost-effective way to record in different flavors. We get edit ready files that we can have our downloader dump onto a drive to be shared with production,” added Morgan. “AJA gear like Ki Pro Ultra 12G and FS-HDR are staples in our inventory, and we use them on nearly every show because they’ve got such a great track record of being reliable. We also use of a ton of other AJA products – everything from the KUMO 3232-12G routers, to the 12GDA and Hi5 Mini-Converters, throw down distribution amplifiers, and FS2 frame syncs.”
Funicular Goats’ credits span the Elton John concert at Dodger Stadium, “The Weekend: Live at SoFi Stadium” for HBO Max, as well as comedy specials and the annual big game, and more. For the big game halftime show earlier this year, Funicular Goats captured 29.97p from Sony VENICE 2 cameras. The feeds were sent to its production truck with an AJA KUMO 3232-12G router on-board. The feeds hit their distribution amplifiers first, and were then sent through the router and Funicular Goats’ 12 FS-HDRs, as well as through 16 additional FS-HDRs on site, and then into the switcher and out for broadcast distribution. The FS-HDRs enabled the DIT crew to work with the log and HDR feeds and bounce them back and forth while also supporting frame syncing to lock all feeds with the main program audio.
Whether servicing the halftime show production, a concert, or a comedy special, Funicular Goats excels at finding innovative ways to use new equipment to help clients meet and exceed their production goals. Morgan concluded, “Our dedication to the technology and craft shines through in the look and feel of every project. What gets me excited to come to work each day are the great team of people I work with and the fact that I get to play a part in influencing the look and feel of these projects. Getting to play with cool gear from AJA gear often is a bonus.”
About AJA Video Systems
Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
All trademarks and copyrights are property of their respective owners.
April 12, 2023
AJA Announces Powerful New Products and Updates Ahead of NAB 2023
Launches new Dante AV transmitter/receiver converters; unveils feature-packed firmware releases for HELO Plus, ColorBox, BRIDGE LIVE, FS-HDR, and AJA Diskover Media Edition
Grass Valley, CA (April 12, 2023) – AJA Video Systems is headed to the National Association of Broadcasters (NAB) Show 2023 in Las Vegas, NV with a new slate of products and updates designed to meet the evolving demands of Video-over-IP, color conversion and management, streaming, remote production, and data management and curation workflows. Through a partnership with Audinate, developer of the new Dante AV Ultra high image quality solution for standard 1 GigE networks, AJA has released Dante AV 4K-T, which converts 4K/UHD/2K/HD/VESA SDI and HDMI 2.0 to Dante AV Ultra signals, and Dante AV 4K-R, which converts Dante AV Ultra signals to 4K/UHD/2K/HD/VESA SDI and HDMI 2.0. AJA has also revealed new firmware updates for HELO Plus,
ColorBox, BRIDGE LIVE, FS-HDR, and AJA Diskover Media Edition.
“Between the dynamic nature of the M&E and proAV industries, and the continuous pursuit of an improved end-viewer experience, technological innovation is a constant, and AJA strives to give professionals access to groundbreaking new tools and product updates that help them keep pace with emerging and evolving workflows,” shared AJA President Nick Rashby. “We’re thrilled to roll out our new Dante AV 4K-T and 4K-R converters to the community, alongside powerful updates for some of our most popular products that bring users more workflow flexibility and control.”
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New Dante AV 4K-T and 4K-R Converters
AJA Dante AV 4K-T and 4K-R transmitter/receiver converters enable transport and control of low latency, professional quality 4K/UltraHD/2K/HD/VESA IP video and audio to/from 12G-SDI or HDMI 2.0 devices over a 1 GigE Dante AV network. Leveraging the tools and infrastructure of the extremely popular Dante IP audio technology from Audinate, the converters offer professionals a reliable and familiar way to integrate video distribution in a networked facility, and seamlessly incorporate high-quality, visually lossless Dante AV Ultra IP video into environments spanning stadiums, arenas, theaters, churches, schools, office complexes, hotels, conference rooms, and more. AJA Dante AV 4K-T and 4K-R are available today from AJA’s worldwide reseller network for $2,495 US MSRP each.
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New v2.0 firmware for the AJA HELO Plus H.264 streaming/encoding/recording device includes several free improvements that make it easier for users to deliver more compelling live streams. The update also introduces two new licensable features, including simultaneous multi-channel stereo audio streaming/recording and PlayToStream, which lets users leverage a previously recorded program for a future streaming event. HELO Plus is available today from AJA’s worldwide reseller network for $1,869 US MSRP, with v2.0 improvements (outside of PlayToStream and simultaneous multi-channel stereo audio) available next month for free via the AJA support page. At the same time, PlayToStream and multi-channel stereo audio streaming/recording options will be available for $199 and $99 US MSRP, respectively.
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Available today, AJA ColorBox v2.0 firmware brings a host of new customer-requested features to the high-performance converter for color-managed workflows, including an add-on license to expand ColorBox’s Colorfront Engine™ video processing options with all-new TV Mode and Live Mode. With the update, the latest v1.6 BBC HLG LUTs are supported. An ORION-CONVERT update is also now accessible with a gamma compensation function to ensure compatibility between different color conversion philosophies. Rounding out the release are improvements such as support for overlaying frame lines or other graphics, five additional built-in test patterns, and Light Illusion, Portrait Displays Calman, and QTAKE Video Assist integrations. ColorBox is available today from AJA’s worldwide reseller network for $1,995 US MSRP, with optional licenses for Colorfront at $995 US MSRP, the ORION-CONVERT pipeline at $695 US MSRP, and the BBC HLG LUT pipeline at $145 US MSRP.
A robust firmware update for AJA’s multi-channel UltraHD and HD live video solution for remote production, contribution, collaboration, streaming, and delivery, AJA BRIDGE LIVE v1.14 introduces optional perpetual JPEG XS I/O licenses. Additional improvements include RTMP input, support for ST 2022-7 hitless redundancy, and input auto-reconfiguration, which further streamline user workflows and automate workflow tasks. BRIDGE LIVE v1.14 will soon be available for existing users with an active maintenance agreement for download from AJA’s website. Customers without a maintenance agreement can access bug fixes within v1.14 but will not receive new feature access. BRIDGE LIVE is available through AJA’s worldwide reseller network starting at $15,999 US MSRP. Optional, perpetual BRIDGE LIVE JPEG XS01 and BRIDGE LIVE JPEG XS04 licenses can be purchased for $1,500 US MSRP per HD channel and $6,000 US MSRP per UltraHD/four-channel HD respectively.
New v4.2 firmware for the AJA FS-HDR real-time HDR/WCG converter/frame synchronizer with Colorfront Engine™ video processing introduces an all-new Colorfront TV Mode, utilizing the latest color science advancements from Colorfront, and powerful Live and Film Mode updates, including support for ARRI LogC4 and Sony S-Log3 transforms. BBC HLG LUTs have been updated to v1.6, including a new combination LUT for camera shading in live productions and a new CAM (Color Appearance Model) based LUT. FS-HDR is available today from AJA’s worldwide reseller network for $9,569 US MSRP. The v4.2 firmware update is now available via AJA’s support page.
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AJA Diskover Media Edition Updates
Additions to AJA Diskover Media Edition sustainable data management and curation software include core software enhancements that provide advanced security, enrich metadata with business context, bring users live insights into their data, and streamline deployment. Expanded search capabilities save facilities time and afford more flexibility, while analytics improvements such as integration with the Xytech Media Operations Platform, and Illegal File Name and Hash Differential plug-ins help provide accuracy and granular data curation. Play and preview capabilities are enabled via the CineSys Cineviewer Player plug-in, and a powerful, purpose-built Oxagile plug-in streamlines arduous content delivery tasks for IMF packages. AJA Diskover Media Edition users with active licenses can access these updates today. The software is available for $11,995 US MSRP per license. For pricing on supported partner plug-ins and integrations, please contact the respective developers (CineSys.io, Oxagile, Qumulo, and Xytech).
For more information about AJA’s latest product releases and updates, visit AJA’s What’s New Page, and stop by NAB booth #W2600 (West Hall) at the Las Vegas Convention Center.
About AJA Video Systems
Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions, and professional cameras, bringing high-quality, cost-effective products to the professional broadcast, video, and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
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Dante and Audinate are registered trademarks of Audinate Holdings Pty Ltd. All trademarks and copyrights are the property of their respective owners.
April 10, 2023
Grass Valley Validates Camera Technology with AJA HDR Image Analyzer 12G
A leading technology provider for the live media and entertainment industry, Grass Valley enables content providers to efficiently create, capture, and deliver compelling live experiences. The company’s array of products, including a popular line of live broadcast cameras, power media centers, mobile production units, 24-hour newsrooms, and sports streaming platforms for global media brands. To ensure its products comply with various industry standards, the company works with a range of manufacturers’ test and measurement equipment during its research and development (R&D). As part of its R&D process, Grass Valley recently leveraged AJA’s HDR Image Analyzer 12G to validate its technology for the LDX 150 premium live broadcast camera and the newly revealed LDX C135 compact camera.
During testing, the R&D engineer connected the camera being evaluated to an HDR Image Analyzer 12G and to an HDR monitor using single-wire 12G-SDI. To compare the outputs of two different cameras, an AJA KUMO SDI router was added to the setup, allowing for seamless switching between sources. Each camera’s 4K/UHD output was sent to a monitor for visual evaluation and through HDR Image Analyzer, where the real-time signal analysis revealed technical information about the live signal. From there, the engineer could switch between camera sources and conduct an accurate color comparison using HDR Image Analyzer’s histograms, vectorscope, and HDR waveform monitoring features.
“People view pictures differently. You need good equipment and accurate data to validate what you’re seeing and prove that your development is headed in the right direction,” said Grass Valley Product Manager Paul de Bresser. “With HDR Image Analyzer 12G, our development team can look at different aspects of the signal in real-time and make adjustments so that we can ensure our products are compatible with industry standards and consistent across color spaces. This allows us to optimize our testing process and ensures we are developing a quality product that meets and exceeds our customers’ expectations.”
Grass Valley cameras and video processing technology are designed for compatibility across SMPTE SDI and 2110 standards, in HDR, SDR, Rec.2020, and Rec.709 color spaces, and are validated accordingly. AJA HDR Image Analyzer 12G allows the company’s engineering team to evaluate and test these parameters with a simple 12G-SDI interface and real-time analysis. Whenever the team needs extra support, the AJA team is quick to respond.
“We’re all in the broadcast business together and depend on each other to deliver. Good relationships and trust are important, and we know we can rely on AJA. If we run into an issue, we can get help immediately,” de Bresser concluded. “By working collaboratively, we’re able to move the industry forward.”
About AJA HDR Image Analyzer
HDR Image Analyzer 12G delivers a comprehensive array of tools for the effective analysis of the latest 4K/UltraHD HDR standards, over a single cable with 12G-SDI – including HLG, PQ, Rec.2020 and Rec.709 – including 8K/UltraHD2/2K/HD content in a convenient real time 1RU device. Developed in partnership with Colorfront, AJA HDR Image Analyzer 12G supports a wealth of inputs from camera Log formats to SDR (Rec.709), PQ (ST 2084) and HLG and offers color gamut support for BT.2020 alongside traditional BT.709. AJA hardware prowess ensures high reliability and performance, with 4x 12G-SDI bidirectional I/O, and DisplayPort connections. Specifically designed to be used wherever needed, the 1RU form factor fits into a range of environments, providing the confidence you need for consistent and predictable HDR production and mastering. www.aja.com/hdr-image-analyzer-12g
About AJA Video Systems
Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
March 23, 2023
The Rebel Fleet Envisions Powerful Video Assist, DIT, and Dailies Workflows with AJA Gear
As high-resolution, high dynamic range (HDR) workflows have continued to evolve in recent years, innovative video assist, DIT, and dailies solutions offered by companies like The Rebel Fleet have become essential. Founded in 2015 in Auckland, New Zealand, The Rebel Fleet provides these services across New Zealand, Australia, and the Asia Pacific region and recently expanded its offering to include post production in New Zealand. Its clients span high-profile episodic, film, and commercial productions. Clients typically approach The Rebel Fleet for custom workflow solutions, often with a specific camera in mind. Its team then works closely with each client to develop a custom pipeline and deploys a host of AJA gear to envision solutions that align with their unique production environment, budget, crew sizes, DP and director visions, studio requirements, and more.
The kit behind the design
The Rebel Fleet team depends on gear like AJA KUMO 1616 and KUMO 3232 routers, the KUMO Control Panel, and AJA Mini-Converters to build on-set video assist and DIT workflows for clients. Company CEO Mike Urban shared, “AJA KUMO routers and Mini-Converters are built so great and offer solid warranties, which are paramount in the fast-paced environments we work in. We need equipment we can trust, and the AJA kit gives us peace of mind.”
QTAKE software is also central to The Rebel Fleet’s video assist service offering. It integrates seamlessly with AJA KUMO routers through the KUMO’s network interface. The team can quickly and easily establish predefined router settings, so if a client wants all the monitors to display playback or live footage, they can preconfigure it, load it up with their Stream Deck, and changes are reflected across the routers. According to Urban, this provides a massive advantage over making changes manually. He shared, “Being able to bring all this control into the network ecosystem of the rig via KUMO gives our clients more free time to try out fancy ideas. I also love that KUMO routers run off 12-volt batteries.”
When working with clients, The Rebel Fleet occasionally deploys a custom flypack affectionately dubbed the “Danny Box” after the team member who built it. Typically placed on set, it is housed in a Pelican Case and features two AJA HD SDI splitters, two camera inputs, and four camera outputs. According to Urban, the setup supports clients looking to distribute a feed to more monitors or extend a signal because the SDI BNC run is longer than 100M. He said, “Knowing we've got reliable equipment from AJA inside the box that we can literally just drop on set and will work without fail is amazing.”
Managing HDR on set and beyond
As HDR continues to play a more prominent role on set, The Rebel Fleet is deploying more HDR gear across projects, including the AJA FS-HDR and AJA HDR Image Analyzer. Paired with Colorfront, these tools help ensure its client’s desired look stays consistent as footage moves from acquisition through dailies. “HDR equipment costs remain a key hurdle to broader adoption of full HDR workflows, which is where tools like AJA FS-HDR have been great. We can easily convert between SDR and HDR and retain a high-quality image,” Urban explained.
When The Rebel Fleet deploys monitors on set, the FS-HDR gives its team the confidence that they’re displaying HDR correctly if they receive a log signal from the camera. Depending upon client needs, they can then route different paths to HDR or SDR. Compatibility with Pomfort Livegrade Pro also enables them to use the device as a dynamic LUT box. HDR Image Analyzer then allows Urban’s team to monitor HDR on set with scopes that match what it’s seeing in Colorfront. He added, “With FS-HDR, we get one rack-mounted device that does everything we could possibly imagine. HDR Image Analyzer also allows us to look at the scopes when monitoring, which is huge for ensuring consistency in dailies.”
Building a workflow for HDR finishing on set
With on-set HDR finishing always a part of the plan for one of The Rebel Fleet’s latest projects, the ability to easily switch between SDR and HDR in the dailies pipeline proved crucial. DPs and other stakeholders needed to know what the HDR looked like during high light or outdoor scenes with high dynamic range, and with every shot effectively a VFX shot, metadata was key. Starting from the cameras – ARRI ALEXA LF cameras with DNA and other smart lenses – The Rebel Fleet designed the workflow so all the metadata from the camera and the lens through the on-set pipeline could be easily read.
“AJA FS-HDR could read all the metadata we brought into the DIT cart. We could then combine it with the notes and information the DIT created for whatever needed to be passed down to the pipeline and marry it with the information coming from QTAKE. We were then able to give the team on set the ability to add metadata directly to a live database for viewing on iPads and other devices,” explained Urban.
All that information ultimately served dailies through Colorfront before making its way into editorial. This color-consistent pipeline meant that editorial could start working faster. The team worked in the same HDR color space (P3-D65) in post production that they’d monitored on set.
I/O was another important consideration on the project, for which Urban and team deployed AJA Io 4K Plus. He shared, “Io 4K Plus is an amazing output device; it gives us the confidence that what we're seeing on set matches what we're seeing in dailies, which is super helpful.”
Being able to switch between HDR and SDR analyzing with the AJA HDR Image Analyzer also gave the main DIT confidence that they were providing the DP with the most accurate picture information. As The Rebel Fleet continues to service clients on high-profile projects, innovating its HDR workflow and remote pipelines remains a priority, with AJA gear a crucial part of the design.
About AJA Video Systems
Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
March 20, 2023
Hash Pixel Saves Time and Money in Production with AJA Gear
Founded in 2020, Hash Pixel develops and implements workflows for streaming and broadcast projects. Based in Beijing, China, the technology and services provider helps clients deliver polished video to a range of end points, and also offers DIT support for commercials. With a handful of technicians addressing an ever-shifting range of project requirements, Hash Pixel values gear that’s versatile and stable, making AJA technology a core workflow component across applications. As HDR production demand has taken off, the AJA ColorBox converter has proven essential for high-performance color management across Hash Pixel’s live broadcasting, live event production, and post-production projects.
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“We learned about ColorBox through our AJA distributor, Esan, and are honored to be one of the first ColorBox users in China,” said Hash Pixel CTO Hugo Wang. “ColorBox really fits into our workflow, the price is reasonable, and it supports 12G-SDI. It is an all-in-one ideal solution.”
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Hash Pixel projects include large-scale events, such as HUAWEI CONNECT, as well as streaming HUAWEI PGC e-commerce, TikTok’s “You Came with the Light” concert, the gaming finals for JJ Cup Doudizhu (Fight the Landlord), feature film “Sacrifice,” and an announcement for Chinese bicycle-sharing service Hellobike. The company’s streaming events usually require video distribution to an internet platform, like TikTok, BiliBili, Douyu, and WeChat.
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Typically, the Hash Pixel team will connect ColorBox with the PGM signal from a video switcher, convert color, and transmit the output to its recording and broadcasting department. Since ColorBox supports a full series of HDR and SDR conversions, the DIT can easily download, adjust, and save the settings. The signal’s metadata is preserved in ColorBox’s SDI output, so the team can easily use it in conjunction with QTAKE video assist software. For remote IP production and SD-WAN, the company leverages its own IP video solutions, which allow them to remotely adjust the color of content via ColorBox. Having kit like ColorBox that supports 12G-SDI has become essential to Hash Pixel as 4K streaming and recording in live production workflows have become more common.
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“With ColorBox, it’s easier for us to manage different color grading needs across versions of content and higher resolution productions, thanks to the frame store function. This function allows us to screenshot directly from the lens and capture metadata. In film production, live 4K monitoring for DIT is also enabled,” Wang explained.
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In addition to ColorBox, Hash Pixel taps a wide range of AJA gear, including Ki Pro Ultra 12G, Ki Pro GO, Ki Pro Rack, KONA 4, Io 4K Plus, Io X3, UDC, Hi5-4K-Plus, U-TAP SDI, U-TAP HDMI, KUMO 1616, and FS-HDR. With FS-HDR, Hash Pixel completes color conversion, frame synchronization, and AES, Madi, and SDI audio embedding and dis-embedding, serving different functions in one single device. The company leverages Hi5-4K-Plus to correctly transmit SDI HDR signals from its color software to HDMI reference monitors for HDR production, with users able to easily view signal input and output from the Mini-Config managing software. Using Io 4K Plus with QTAKE on Mac, Hash Pixel can carry through SDI-embedded metadata, like HANC and VANC, across different video camera brands. The team often uses Io 4K Plus alongside AJA’s slim KUMO 1616-12G router, among other AJA solutions.
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“AJA products are extremely stable. I have a KONA 3G that I bought in 2012 and it is still working today. Because of this, purchasing AJA products ultimately saves you time and money. Each product consistently surprises us with its versatility,” Wang concluded.
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About ColorBox
AJA ColorBox is a compact, high-performance converter for color managed workflows designed to meet the conversion needs of broadcast, live events, and on-set applications. Supporting Standard Dynamic Range (SDR), High Dynamic Range (HDR), and Wide Color Gamut (WCG) signals, it utilizes 12G-SDI and HDMI 2.0 for singer wire 4K/UltraHD HDR up to 4:2:2 10-bit 60p or 4:4:4 12-bit 30p with a unique color processing pipeline. ColorBox includes processing pipeline modes from Colorfront and NBCU LUTs, as well as a powerful AJA Color Pipeline. ColorBox also offers licensable upgrade options for advanced color managed workflows, including BBC HLG LUTs and the ORION-CONVERT engine. www.aja.com/colorbox
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About AJA Video Systems
Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
March 1, 2023
Time in Pixels’ Nobe OmniScope and AJA I/O Technology Advance Video Analysis
Access to accurate information about the color and exposure of source footage is crucial to the color workflow on any production, making video scopes essential to modern grading suites and digital imaging technician (DIT) carts. Recognizing a need to address persistent information gaps, Time in Pixels Founder Tomasz (Tom) Huczek developed Nobe OmniScope, a software-based suite of scopes that help creative professionals analyze a broad range of video sources and imagery with standard post production tools. An AJA Developer Partner, Time in Pixels worked closely with AJA to deliver Nobe OmniScope support for AJA desktop and mobile products like KONA 4 and Io XT, in addition to AJA U-TAP and T-TAP Pro. KONA 5 and Io X3 integrations are planned to support future customer demand.
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Specializing in building tools for filmmakers, colorists, and post professionals who work on high-profile cinematic, commercial, and episodic projects, and, increasingly, photographers, Time in Pixels launched Nobe OmniScope in 2021. Huczek and team initially designed the software – which supports industry-standard post applications like Adobe Premiere Pro, After Effects, LightRoom and Photoshop, Apple Final Cut Pro, and Assimilate Scratch, among others – with colorists in mind. Upon launch, demand quickly rolled in from other creative disciplines, including DITs, as well as live and virtual production professionals and monitor calibration specialists. Color scientists have also leveraged the technology to verify some of their theories or to experiment with formulas.
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“All the customer feedback we receive is invaluable, and we do our best to accommodate it. This includes requests for support for popular audio and video I/O technology from AJA Video Systems,” Huczek shared. “Requesting a Developer unit from AJA was a smooth process, and the SDK was easy to follow, which made the integration seamless. It’s been a pleasure collaborating with AJA on the integration.”
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A typical Nobe OmniScope setup in a facility or on a DIT cart includes a color grading workstation equipped with a computer, a high-quality monitor, and a color grading panel; the software; and an audio and video I/O card or box. Although the software supports a range of I/O tools, Time in Pixels regularly recommends AJA’s I/O devices to customers. “AJA gear is easy to use and install, and it’s durable,” noted Huczek. “We’re confident that it’s going to work as promised for our customers, with high color accuracy and low latency, so we know they’ll be happy with it.”
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With the continued rise in demand for HDR production and post in recent years, Time in Pixels has received several customer inquiries about best practices for monitoring HDR content. “When it comes to a question of HDR with Nobe OmniScope, we often recommend AJA KONA 4 for I/O because it’s well-suited for this application and is future-proof,” Huczek added. “It works well for HDR and virtual production environments.”
As the industry continues to rapidly evolve, Huczek and team remain optimistic and are prepared to address emerging technology developments. “I think we’ll continue to see new and interesting advancements in XR, virtual production, HDR, and more, and we’re tailoring our roadmap accordingly. AJA also has a track record of releasing products that address emerging market needs, so I’m confident there will be more AJA tools to come that bring interesting new opportunities for both AJA and Time in Pixels,” Huczek concluded.
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About AJA Video Systems
Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
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All trademarks and copyrights are property of their respective owners.
February 6, 2023
Founded in 2019, Singapore-based VStream Media has provided remote live production services since before they became an industry standard in their market. The company offers technical AV planning and workflow design, along with on-site training and systems integration, to ensure live event streams align with each customer’s unique vision. As demand for remote productions increased, VStream Media added the AJA Ki Pro GO multi-channel H.264 recorder to its workflow. The device has enabled its team to achieve redundant, multi-channel recording and simplify its content delivery path.
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VStream Media considers H.264 recording best suited for cloud-based workflows. For most events the company takes on, remote speakers call in via a video conferencing platform using a webcam that has 720 or 1080 resolution. The VStream Media team then sends multiple SDI feeds out to AJA Ki Pro GO for recording to off-the-shelf solid-state-drives (SSD), with another SSD as a backup. This approach ensures redundant, multi-channel recording. Post event, the VStream team can quickly upload the files to the cloud. This gives the client’s editorial team near instant access to the file, so that they can download the footage quickly, regardless of where they are based or if they have a limited internet connection.
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Commenting on the workflow, Adarsh Mohan, VStream Media Co-founder and Managing Director, shared, “Ki Pro GO brings simplicity and flexibility to our workflow. When it comes to remote live event production, we need to be sure that all equipment can perform well, and based on our experience, AJA products provide that.”
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In addition to Ki Pro GO, VStream Media leverages a host of other equipment, including an internally developed multi-video broadcasting platform, PTZ cameras, and several other AJA solutions. Additional AJA equipment deployed across VStream Media workflows includes: the AJA KONA 4 I/O card with a breakout box and other AJA Desktop I/O Solutions, AJA U-TAP SDI and HDMI USB 3.0 capture devices, and the AJA FiDO-2T-12G two-channel 12G-SDI to single-mode fiber transmitter. Adarsh Mohan added, “Our experience with AJA gear has been great across the board. AJA promises a very stable workflow, and you get more than what you pay for.”
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Adarsh Mohan and co-founder Ang Ming Song established VStream Media with a vision to maximize the use of technologies to provide clients forward-thinking processes and solutions. Using PTZ cameras and NDI technology in productions was the primary focus, and they’ve since continued augmenting workflows with new additions. Its internal research and development team works alongside the operations team to explore and push technological possibilities. Once proven in the research lab, they implement these workflows in real-world scenarios to take productions to the next level.
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This innovation has always allowed VStream Media to stay one step ahead. Because of its continuous passion for innovation, the company was more than prepared for the sudden pivot to virtual events. Adarsh Mohan concluded, “We have clients and AV partners coming in daily to discuss new production ideas, so we have to constantly think on our feet and come up with creative solutions that align with our customers’ visions. AJA products like Ki Pro GO are essential to achieving that; it helps us to create a cleaner, more effective workflow.”
About AJA Ki Pro GO
Ki Pro GO Is a portable multi-channel H.264 recorder offering up to 4-channels of simultaneous HD and SD recording to off-the-shelf USB drives and/or network storage with redundant recording capabilities. 4x 3G-SDI and 4x HDMI digital video inputs with flexible channel assignments provide connections to the latest video sources, including cameras and DSLRs. Incoming video sources do not have to be genlocked due to Ki Pro GO’s input frame syncs. Ki Pro GO also features AJA’s high quality de-interlacers on each input so progressive recordings can be made from interlaced inputs. High quality 2-channel embedded audio or balanced XLR analog audio can be assigned to any recording channel. Multi-Channel Matrix Monitoring enables multiple video channels to be viewed on any single HDMI or SDI display, and Enhanced Super Out offers timecode, media status and audio meter overlays over the SDI and HDMI monitor outputs. Designed to be either portable or rackmountable with a half rack wide, 2RU dimensions, Ki Pro GO is well suited for use in any environment. www.aja.com/ki-pro-go
About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional, broadcast, and post-production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
December 20, 2022
Streaming is ubiquitous across entertainment, enabling event organizers to reach wider audiences through hybrid event formats. For the 25th anniversary of FUJI ROCK, the largest outdoor music festival in Japan, the live broadcast experts at Tokyo’s Nouvelle Vague Inc produced the event’s official YouTube stream, which reached a remote audience topping hundreds of thousands. To pull it off without a hitch, Nouvelle Vague Vice President & Director Masayoshi Ikeda and his team developed an efficient, reliable live production workflow comprising AJA solutions deployed at the event venue (Naeba Ski Resort) and Nouvelle Vague’s main control center.
Ikeda shared, “We used AJA’s FS4 for converting video feeds to 29.97p for ingest and streaming, KUMO 6464 for routing signals, Io 4K Plus for editorial I/O, Ki Pro Ultra 12G and Ki Pro GO for redundant recording of Apple ProRes and H.264 files, OG-DANTE-12GAM for audio embedding, and disembedding utilizing Dante, T-TAP Pro for output from the playout system, and BRIDGE LIVE for SDI encoding and RTMP streaming outputs.”
For the three-day festival, Nouvelle Vague developed a workflow to capture performances from the venue’s four main stages and produced the official festival stream, which 200,000 remote viewers tuned into. While stream quality was paramount to the success of the hybrid event, the team also wanted to capture the highest fidelity audio across performances since the recordings would also serve as demo materials for the artists.
Having produced the stream for the 2021 festival, Nouvelle Vague joined the 2022 event six months before showtime to refine the live workflow. The company’s on-site staff consisted of 25 crew members working across two teams; one managed infrastructure setup, while the other handled technical and editorial aspects of production. The infrastructure team arrived to set up and configure the streaming system three days ahead of the show. One day prior to the event, the technical team then showed up, and the crew conducted an equipment rehearsal to test the full streaming workflow.
For the festival’s on-site system, Nouvelle Vague transmitted SDI 59.94i feeds from each of the four venue stages to FS4, which converted the signals to 29.97p for ingest and streaming purposes. To route the converted signals, they used KUMO 6464, which provided the flexibility required to distribute a single video feed to multiple channels. The ingest system included Apple Mac Studio with Softron MovieRecord to capture and continuously record three channels for all four stages (totaling seven sources) to NAS storage. To prepare for any NAS network issues, the crew used Ki Pro Ultra 12G for redundant recording and simultaneous baseband capture without a network connection. They also recorded feeds from all four stages with Ki Pro GO as a backup.
For audio embedding and disembedding, the team relied upon eight OG-DANTE-12GAM cards – an openGear® 12G-SDI embedded audio to Dante IP audio bridge. They used two cards for audio disembedding at each stage, two for playout, two for embedding the program output, one for disembedding looped play videos (to be broadcast during intervals of the YouTube stream), and one for backup.
During the festival, editors cut together performances for the stream immediately following capture, with Io 4K Plus used to ingest network recordings into DCCs. For playout, the team generated the final edited videos generated with Softron’s OnTheAir solution for live production, with T-TAP Pro handling output. BRIDGE LIVE managed encoding and simultaneous YouTube streaming with three RTMP channels.
Ikeda shared, “When it comes to integrating new technologies into our live workflows, we’re always looking for the newest and most innovative products that support workflow flexibility, like tools from AJA.”
Nouvelle Vague began transitioning to IP workflows last year and developed an audio system that uses Dante to easily handle large-scale networks, helping to reduce system costs. The team integrated OG-DANTE-12GAM to eliminate the process of converting from SDI to analog audio while also minimizing sound quality deterioration. For a flexible streaming solution that works with HLS, SRT and RTMP, the team integrated BRIDGE LIVE. Ikeda added, “We chose BRIDGE LIVE because we prefer AJA products for offering compatibility and broadcast-grade stability.”
Ultimately, the stream for FUJI ROCK 2022 was a success, with improved network bandwidth and the addition of Mac Studio to record up to eight channels at 60p, offering greater system stability. In the near future, Nouvelle Vague is looking to further integrate IP workflow technologies into its system and expand capabilities to offer SRT transmission with on-site operations. By linking sources from event venues to its nOOb Studio in Tokyo, the team will further develop a remote workflow for recording, editing, and streaming, while reducing production costs. “The important thing is to consider all the possibilities for your production environment and implement new technologies or products to innovate your workflow and produce world-class content,” added Ikeda.
About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions, openGear and IP products, bringing high-quality, cost-effective products to the professional, broadcast and post-production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
December 14, 2022
Preparing new and legacy entertainment for global audience distribution has grown increasingly complex between the widespread implementation of remote workflows, ongoing cybersecurity threats, and increasing media file sizes. To this end, secure and reliable post production and digital media processing services, like those offered by IDC, are essential. Between its New York and Los Angeles offices, the company works on projects spanning episodic series and films and master QCs. To best serve its global roster of clients, the bicoastal shop has developed automated data processing workflows, with AJA Diskover Media Edition data management software a key part of its infrastructure.
“Our clients are our top priority, and a lot can happen in the render that might get missed in post, so our job is to spot those issues and fix them before the file reaches the client,” shared IDC-LA COO Rosanna Marino. “This often translates to a massive volume of data processing, which is where technology like AJA Diskover Media Edition pays off. It’s helped us meet this demand and enhance our offering so that we can stay competitive without a huge upfront physical infrastructure investment.”
It’s not unusual for IDC-LA to deliver more than 20,000 files a month to clients globally. As projects arrive, the team must know where each client file lives and its contents. To automate this process, Marino and team developed intelligent workflows built with Diskover Media Edition and MediaPulse. These workflows ensure that every file lands in a designated folder and determine the initial path a file must take until a team member steps in to set up profiles, create files, or complete QC.
To speed up media processing and project turnaround, especially for projects containing data-rich content, the team creates profiles and accesses them from their Telestream Vantage system, and leverages the Colorfront Transkoder. Diskover Media Edition is leveraged in a variety of ways, depending on the client. Files generally roll in electronically and are fielded to a landing zone, at which point the appropriate team members are notified. Depending on where the files land, an automated backup might be generated in the cloud for disaster recovery. IDC producers then use Diskover Media Edition to signal to the team that it’s time to move the files to their next locations and alert relevant team members of their arrival.
“We knew Diskover Media Edition would be a great fit with built-in automation tools and ties to MediaPulse, and it exceeded our expectations. The software has also made file scanning so quick and automatically indexes all our file systems every 30 minutes,” noted Marino.
On the backend of IDC-LA’s AJA Diskover Media Edition index is the powerful and widely adopted ElasticSeach engine. “The ElasticSearch engine in AJA Diskover Media Edition is so powerful and lets us search for nearly anything, from tags to file names or parts of file names. We can even search for a client, and the software interface will present everything from that client, and we can then narrow the results,” explained Marino. “It also scans our cloud for disaster recovery, so our client service reps can search the index, easily find an asset they need, and send in a work order to pull it back down from the cloud when required.”
IDC-LA’s automated workflows have streamlined operations, giving its customer service representatives more insight into the data they’re working with and presenting it in clear and concise reports that can be shared with relevant stakeholders. There’s no need to ask the client where the files live because all the information is available in one centralized, easy to access location, whereas before, finding the file, sending it to an operator, pulling it up, and digging up the required info took a lot of back and forth.
Marino concluded, “We aim to strike the right balance between thinking out-the-box and not reinventing the wheel. Simplicity and efficiency are key, and we’re continuously looking at new technologies like AJA Diskover Media Edition software that allow us to do things differently in a more streamlined way. We also love working with companies like AJA and Diskover, who are continuously improving the technology and are transparent about the product roadmap. The conversation is two-way; they’re willing to explore new requests with us, which is rare today.”
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About AJA Diskover Media Edition
AJA Diskover Media Edition is an intuitive data management software solution designed to give users more control over media storage across an entire organization, regardless of where it is physically located. Use high-speed, cutting-edge searches, cost analysis, tagging, and other sophisticated tools to empower all levels of an organization to make informed data decisions, enhancing file-based production and monetization. AJA Diskover Media Edition lets users more efficiently curate existing assets and prevents file loss. For more details about AJA Diskover Media Edition, visit www.aja.com/aja-diskover-media-edition.
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About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional, broadcast, and post-production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
November 3, 2022
OWC®, a leading customer-focused creator of innovative solutions for over 30 years that have enabled individuals, businesses, creative professionals, and educators to get maximum usefulness from their technology investment, today announces the all-new OWC Atlas Memory Cards and Reader.
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"OWC is the leader in workflow solutions that professional photographers and videographers depend on daily," said Farshid Tabrizi, Sr. VP of Flash Memory & Media Development. I am thrilled to release our new Atlas Pro and Atlas Ultra memory cards that provide flexibility and choice for photographers and videographers based on their camera and how they use it."
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Performance and reliability have been OWC's priorities as a leading developer of flash storage for over a decade. Our Atlas memory cards line-up is developed and tested under the most aggressive settings each card type is designed to handle. You can trust Atlas memory cards with your irreplaceable content while delivering the performance and reliability you expect. Go from ingest to edit with the portable bus-powered Atlas FXR CFexpress card reader with built-in support for both Thunderbolt and USB, SD and CFexpress card reader equipped with OWC docks, and OWC storage solutions. No matter your need, Atlas is one stage of an empowering OWC ecosystem that will rocket you onward and upward from Capture to Completion™.
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"It's super important to have equipment that doesn't limit me in any way," said Jake Chamseddine, Tour Photographer. "From cameras to lenses, all the way down to the memory cards I use. Having the peace of mind of knowing my cards are not only going to keep up with me while I'm shooting but also safely transfer images to and from my camera is the reason I love OWC’s Atlas memory cards so much. Couldn't recommend a card more."
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Atlas Pro SD V60
​Ideal for your most common photo and general video capture uses, including high-resolution RAW photography at moderate burst rates and up to 4K video recording. The OWC Atlas Pro SD V60 offers the perfect balance of quality, speed, and affordability to general prosumers, business content creators, social media influencers, and pro photo and video creatives using DSLR and mirrorless SD card-based cameras.
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Atlas Ultra SD V90
​When you have a high-end SD memory card-based workflow or want to use your camera's maximum video setting allowed by an SD card, the Atlas Ultra SD V90 lets you take it to the Ultra level—built and designed to meet professional content creators' most advanced use cases, including high burst image sequence RAW photography and high bitrate 4K and 6K video recording. Built for action sports, outdoor/wildlife photographers, individual pro photo and video creatives with advanced cameras and camcorders, and independent/small film production companies using DSLR and mirrorless SD card-based cameras. With a minimum of 90MB/s sustained recording speeds guaranteed, you don't have to worry about dropped frames or missing footage.
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Atlas Pro CFexpress
​Whether you're a photographer using a firmware updated XQD camera or a filmmaker using the latest camera, there's a capacity for your need. The OWC Atlas Pro CFexpress is the cost-effective choice for most professional workflow needs, including fast burst RAW image sequences, high bitrate video recording up to 6K on 512GB, and higher capacities. The OWC Atlas Pro CFexpress is perfect for intermediate action sports photographers, intermediate outdoor/wildlife photographers, individual pro photo/video creatives with advanced capabilities, and film production companies using DSLR and mirrorless CFexpress card-based cameras.
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Atlas Ultra CFexpress
​Perfect for your most demanding video recording and extreme action photography settings. With minimum sustained write speeds of 1300MB/s, you can reliably capture 8K RAW video with your top-of-the-line cinema camera. If you're an advanced sports or wildlife photographer, the 165GB version is the fastest, most cost-effective solution to clearing your camera buffer and shooting continuously in burst mode. Built for advanced action sports photographers, advanced outdoor/wildlife photographers, professional video content creators, film production companies, and feature film studios using DSLR and mirrorless CFexpress card-based cameras. Both the OWC Atlas Ultra 325 and 650 are RED APPROVED for V-Raptor and V-Raptor XL Cameras.
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Atlas FXR
​Revolutionize your capture to ingest CFexpress memory card workflow with Flexible compatibility, Xtreme speed, and travel-Ready convenience. Transfer video footage and photos to virtually any computer or tablet with Thunderbolt or USB port up to 1600MB/s speed. Sized like a debit card and bus-powered, Atlas FXR easily fits into your smallest gear bag. Made for intermediate to advanced action sports photographers, intermediate to advanced outdoor/wildlife photographers, professional video content creators, film production companies, and feature film studios using DSLR and mirrorless CFexpress card-based cameras.
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Pricing & Availability
OWC Atlas Pro SD V60 is available now in 64GB, 128GB, 256GB, 512GB, and 1TB capacities starting at $27.99 on Macsales.com
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Atlas Ultra SD V90 is available now in 64GB, 128GB, and 256GB capacities starting at $74.99 on Macsales.com. 512GB will be available in December
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Atlas Pro CFexpress is available now in 64GB, 128GB, 256GB, 512GB, and 1TB capacities starting at $94.99 on Macsales.com
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Atlas Ultra CFexpress is available now in 165GB, 325GB, and 650GB capacities starting at $174.99 on Macsales.com
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Atlas FXR is available now starting at $149.99 on Macsales.com
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About OWC ​
​Other World Computing (OWC), founded in 1988, is committed to supporting and inspiring the imagination of Mac and PC enthusiasts worldwide through sustainable innovation, exemplary customer service, and American design. An entire spectrum of easy, DIY upgrade and expansion possibilities await Memory, External Drives, SSDs, Mac & PC Docking Solutions,Network Attached Storage, Memory Cards and Readers, Software Solutions and Performance Upgrade Kits solutions. All are backed with step-by-step videos and a global support team. Our dedication to excellence and sustainable innovation extends beyond our day-to-day business and into the community. We strive for zero waste, both environmentally and strategically. We have a long-term outlook on everything we do and believe in making a better world. From the home desktop to the enterprise rack, the corporate backup to secure medical data, the recording studio to the motion picture set, and beyond, there should be no compromise, which is why OWC is here. OWC established the branch office of OWC Asia in January 2019 to provide local service to various Asian partners and end-users.
September 1, 2022
AJA Unveils ColorBox for Color-Accurate Broadcast, Production and Post
Device ensures color accuracy across productions with advanced algorithmic and LUT processing using HDR/WCG transform tools
Grass Valley, CA (September 1, 2022) – AJA today debuted ColorBox, a portable, high-performance device with unprecedented inline algorithmic color transforms and LUT processing capabilities delivering precise and accurate color space conversions for live broadcast, live events, on-set production and post production. ColorBox enables a range of HDR and SDR conversions and allows DITs to easily load, modify, and save looks, and create reference images for dailies to ensure color accuracy across all production stakeholders and creative vendors.
ColorBox arrives as more productions are standardizing on 4K/UltraHD HDR, with color and LUT management proving essential to creating and achieving looks for live and scripted content. Designed to support a wide range of look management approaches on-set and in live production environments, ColorBox features 12G-SDI in/out and HDMI 2.0 out for up to 4K/UltraHD 60p 10-bit YCbCr 4:2:2 and 30p 12-bit RGB 4:4:4 signal support. ColorBox includes AJA Color Pipeline (ACP) Mode with a 33-point 3D LUT processor with tetrahedral LUT interpolation, four built-in user-configurable 1D LUTs, and two 3x3 user-configurable matrices. ColorBox users also benefit from a built-in RGB color corrector and ProcAmp, extensive LUT, matrices and image libraries, powerful capture and recall capabilities, ancillary (ANC) metadata management, and more. All of this is easily controlled via an integrated web browser-based interface.
In total, ColorBox offers five Modes with one active at any given time.
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AJA Color Pipeline (ACP)
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Colorfront
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ORION-CONVERT(Optional license - watermarked preview)
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BBC HLG LUT (Optional license - watermarked preview)
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NBCU LUT
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“Powered by the HPA Award winning Colorfront Engine, the new Colorfront Mode in AJA’s exciting new ColorBox offers state of the art conversions between SDR and HDR content,” explained William Feightner, CTO, Colorfront. “As opposed to traditional LUT based processing, the Colorfront Engine’s Human Perceptual Model algorithm assures flawless artifact free conversions. This ensures the preservation of creative intent.”
"ORION-CONVERT was developed out of the need to create bespoke color-managed conversions for our clients at Cromorama. The ease of use and the simplicity of the user interface together with unprecedented highlight control help deliver the most challenging live broadcasting events and episodic file based content,” explained Pablo Garcia Soriano, Cromorama’s Founder and Head of Color. “Now with the implementation of ORION-CONVERT in AJA’s new ColorBox we can finally use optimized floating point processing that provides greater precision than can be achieved using standard LUT solutions.”
ColorBox packs ultra low-latency, high-density 4K/UltraHD processing into a portable device with a robust feature set of SDR/HDR/WCG color transforms for many applications. Extensive frame capturing features include pre-processed image capture or post-processed output capture for reference stills with overlaid metadata, such as video payload ID’s, pipeline configuration, and customizable user text. These frame captures can be saved locally and exported to the configuration PC running the web browser-based ColorBox user interface.
A built-in USB OTG port lets users easily configure ColorBox wirelessly via a 3rd party USB WiFi adapter. 12G-SDI and HDMI 2.0 outputs provide up to 4K/UHD video for local monitoring, and an additional 12G-SDI loop through output is available for connecting the unaltered source to other devices.
ColorBox Feature Highlights
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Up to 4K/UltraHD 60p 10-bit YCbCr 4:2:2 and 30p 12-bit RGB 4:4:4 signal support.
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12G-SDI in/out, with loop out.
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HDMI 2.0 output.
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5 Modes available: AJA Color Pipeline, Colorfront, NBCU, BBC HLG, ORION-CONVERT.
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Extensive color processing using AJA Color Pipeline: 1D LUTs, 3x3 Matrices, and 3D LUT nodes for image manipulation/correction.
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Optional licenses for varying image processing needs, including BBC HLG LUTs and ORION-CONVERT with optimized floating point processing provides greater precision that can be achieved by standard LUT boxes.
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Light-weight portable form factor that easily fits on the desktop or up to 4 units in a 1RU rack.
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Intuitive and convenient web browser-based user interface with Video Preview for confidence monitoring.4K/UltraHD Frame Store capture and recall of 16-bit .TIFF, .JPEG, or .PNG files.
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Powerful built-in test pattern generator for simple setup and signal path validation.
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Extensive API/Software Development Kit (SDK) for third-party control of every parameter.
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The ability to key information onto a processed output with Overlay for local use or capture with customizable user fields.
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Ultra-low latency to ensure sources remain within the timing window of the downstream switcher in live production workflows.
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HDMI 2.0 output for 4K/UltraHD HDR enables cost-efficient monitoring on consumer displays.
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USB OTG port and third-party WiFi adapter provides wireless access to the web UI when a wired Ethernet connection is not available.
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ANC management with a user-defined field that can be overlaid or embedded in frame store .tiff files.
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“Reliable, high end color processing and display have become essential to creating scripted and live content that resonates with audiences, and AJA developed ColorBox in response to this demand. Drawing on an extensive engineering background in HDR and conversion technology, as well as third-party partnerships with experts in color science, we’ve delivered an unparalleled and flexible image processing toolset in this device,” shared AJA President Nick Rashby. “ColorBox streamlines color management and display for environments ranging from TV, episodic, film, live event and commercial production to creative, editorial, and finishing studios, and we’re thrilled to bring it to market.”
Pricing and Availability
ColorBox is available today through AJA’s worldwide reseller network for $1995 US MSRP with optional licenses for the BBC HLG LUT pipeline at $145 US MSRP and ORION-CONVERT pipeline at $695 US MSRP. For more details, visit: www.aja.com/colorbox
August 18, 2022
ToolsOnAir Advances Ingest and Post Workflows with AJA I/O Gear
ToolsOnAir turned heads when it launched the first Mac-based client-server ingest, playout, and real-time graphics solutions for broadcast, in 2010 at the National Association of Broadcasters (NAB) Convention in Las Vegas, NV. Since then, the Austrian solutions developer has expanded its line of products to support live automated playout and live closed captioning, and launched a Linux-based ingest solution. Broadcasters, production facilities, houses of worship, government organizations, and educational institutions worldwide use ToolsOnAir technology to accelerate audio and video ingest and playout for production with an assist from AJA I/O hardware.
“Whether editing a religious sermon, college lecture, highlights reel, or other content, our ingest solutions help customers capture and turnaround content quickly for post. We design all systems with AJA I/O gear to be multi-format, so users have the flexibility to work with industry-standard codecs such as Apple ProRes, XDCAM HD, AVC-I, DNxHD/HR, or H.264/HEVC in the related MOV, MXF, MP4, or AVI containers,” shared ToolsOnAir Ingest Solutions Manager Christian Schabasser. “Many clients also want to play out material to HDMI and SDI devices while simultaneously recording, whether for monitoring or streaming. In this case, we recommend complementary hardware like the AJA HELO Plus H.264 streaming and recording device.”
Depending upon the customer’s preferred operating system, ToolsOnAir solutions are either built by a reseller or systems integrator, or ship turnkey. Mac customers typically acquire the necessary Mac, AJA I/O hardware (either PCI or Thunderbolt), and a Sonnet PCIe enclosure for PCI cards, and ToolsOnAir provides the software licenses.
“Our Mac-based solution supports a range of I/O hardware, but we always recommend AJA Io and KONA solutions. We recently had a Norwegian customer use multiple AJA Io X3 in their setup, and I suspect they won’t be the last,” said ToolsOnAir Head of Operations Manuel Grund. “Io X3 is a perfect I/O box for HD needs with Thunderbolt 3 support and feature additions via AJA Desktop Software updates. It is modern, quiet, and has nearly everything imaginable, including a multi-viewer feature and many audio input options. It’s also easy to get started; you plug it in, install the drivers, and you’re off.”
ToolsOnAir builds its Linux systems in Vienna and the US, and ships them to customers with an AJA Corvid 88, Corvid 44 12G BNC, or Corvid 44 BNC card integrated. “For clients working in HD and UltraHD, we use the Corvid 88, as it offers eight inputs, enabling eight for HD or two for UltraHD via quad-link connection. In other scenarios, where four inputs are required we use a Corvid 44 12G BNC or Corvid 44 BNC,” noted Schabasser. “Overall, our customers are enthusiastic about their experiences with these cards, and we’re seeing more demand for 12G-SDI from customers working in UltraHD.”
“As more professionals are working in high frame rate 4K and UltraHD, especially for sports and prime time productions, 12G-SDI is gaining technological favor. About 90 percent of our clients working in UltraHD are using native 12G-SDI tools,” Grund added. “It gives them the power and bandwidth required to move UltraHD signal content through the cable, still keeping the flexibility to work in HD should the project call for it.”
Considering the prominent role of I/O technology in ToolsOnAir’s line of work, the company has been an AJA Developer Partner since its inception. Grund concluded, “When we first got started, we had long discussions about choosing the proper hardware and SDK foundation to build upon, and that’s what AJA is known for in the broadcast space. Their driver base stood out, but more importantly, as a developer, their SDK allowed us to talk directly to the metal. We knew and still know that with AJA, our customers will be able to see how every single frame that goes through the card looks and can easily process each. Having a solid I/O partner like AJA has made our journey from 2010 through today much simpler.”
Learn more about ToolsOnAir via: https://www.toolsonair.com/. For additional background on AJA’s Developer program, click here.
About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional, broadcast and post-production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
All trademarks and copyrights referenced herein belong to their respective companies
August 11, 2022
ZEISS Cinematography Americas To Sponsor
HollyShorts' 2022 Achievement in Cinematography Award
Held in Hollywood, California August 11-20, 2022
Hollywood, California: For the eighteenth year, HollyShorts (www.hollyshorts.com) will present its Academy qualifying Short Film Festival in person at TCL Chinese Theaters, Japan House Hollywood, and streaming on Bitpix TV.
For the first time, ZEISS Cinematography is pleased to sponsor the new HollyShorts ZEISS Achievement in Cinematography Award and participate in other festival events.
"We are extremely excited to team up with ZEISS, a world-renowned and innovative company that recognizes these goals with their incredible brand and products," commented HollyShorts co-founders, Daniel Sol and Theo Dumont. "We look forward to introducing Zeiss to our 400 officially selected, incredible next generation of artists at this year's festival."
To recognize the latest trend in motion picture optics, on August 14, ZEISS Cinematography team member David Warner will present Creating Flares for Filmmaking. An expert in the field of lens technology, Warner will offer background, insights, and options before opening up the mic for a lively Q&A.
The Festival's finale is the Film Awards ceremony on August 20. A highlight will be the new Achievement in Cinematography Award, presented by ZEISS to give special recognition for the best cinematography chosen from all films presented. Tony Wisniewski, ZEISS Senior Manager of Marketing adds, "We are delighted to partner with HollyShorts to present an award to the winning cinematographer as our way of rewarding their achievement and encouraging filmmakers to tell their stories with inspiring images." ZEISS will also have the honor of presenting the HollyShorts Film Festival Achievement in Filmmaking and Cinematography Award to the esteemed Nancy Schreiber ASC, who's past work has been screened at the Festival.
August 3, 2022
Jimmy Chin and Elizabeth Chai Vasarhelyi's film, The Rescue tells the story of the 2018 Tham Luang cave rescue in which twelve boys’ from the Wild Boars Football club and their coach were trapped in a flooded cave complex in Thailand. Documenting the huge risks taken by a team of specialist divers during the rescue, the production combines documentary footage with painstaking dramatic reconstructions shot by top underwater cinematographer Ian Seabrook.
Seabrook’s earliest dives were on Australia’s Great Barrier Reef, a visual spectacle which prompted him to combine the twin passions of diving and photography and to “focus on one job – as underwater cinematographer.” Initially starting out on documentary and commercial productions, by the late '90s Seabrook was working in narrative as well, and today has an extensive list of underwater credits including Batman v Superman, Pirates of the Caribbean: Dead Men Tell no Tales, Deadpool 2, and Jungle Cruise.
The Rescue began preproduction in 2019, with Seabrook’s experience in both narrative and documentary production immediately crucial. “The filmmakers came to me to recreate the rescue operation, and I was given autonomy with regards to camera, lens, and format selection.” Seabrook chose the ARRI Alexa MINI LF, recording its sensor in open-gate, with ZEISS Supreme Prime and Supreme Prime Radiance lenses.
One reason behind the decision was, Seabrook says, “we thought the film might get an IMAX release due to the subject matter and fact that the directors' prior film, Free Solo, benefitted from an IMAX release. The Rescue is an amalgamation of news footage, interview footage that was photographed in a few countries, and aerial photography from Thailand. I felt that with the underwater portion of it being photographed in open gate, the images would have their own unique look and allow the audience to become immersed in the environment.”
Creating images worthy of the biggest of big screens meant finding the right methodology to illuminate an environment that is oppressively dark. “It was a confined cave environment,” Seabrook says, “and the only illumination were the divers’ headlights. I had several meetings beforehand with the actual cave divers who performed the rescue operation, who told me how things were handled, and what they used for illumination during the dives.”
With the Supreme Prime Radiance, each light source brought a unique quality of light and subsequent life to the frame. "One of the reasons I settled on the Radiance was due to the unique blue flare patterns that the lenses were designed to create,” Seabrook confirms. “I shot tests underwater with the lenses wide open at T1.5 and also at a more desirable T4-5.6. With some of the divers’ lights, we found that when we shot it wide open, the lights basically bloomed… and there was little to no detail prevalent. I then selected an aperture I wanted to shoot at and tested that with a few different ISO combinations until I arrived at what I found to be the sweet spot for this project. That's one of the main reasons why that lens and sensor combo was spectacular.”
Leveraging the depth-of-field control offered by large format camerawork was just as crucial. “The reason I shot at a certain aperture was to hide the fact that there was less cave structure set than we had access to,” Seabrook says. “We were able to camouflage the fact that we did not have miles of cave to shoot in.” At the same time, the Supreme Primes’ close-focus capability was crucial for a shoot where the camera and subject distance would be in loose proximity to one another.
“The close focus distance on the Supremes was an amazing asset,” Seabrook enthuses. “I didn't have to use auxiliary diopters because the close focus of those lenses was at most fourteen inches. Normally what anyone will require with a dome port is between sixteen and eighteen inches, so the fact that the lens focuses even closer was an enormous benefit. When we were doing re-creation work for the surface portion of the shoot with the vials of sedatives that were injected into the children, I could get close enough to read the names, ketamine and atropine, on the labels.”
To the delight of everyone involved, The Rescue was to get its hoped-for huge-screen finish, and Seabrook saw his images projected at vast scale. “I saw it on an IMAX screen TIFF,” Seabrook recalls, “and the underwater imagery had great detail and, at that size, was immersive.” The real-world story behind those images, meanwhile, created lasting memories. “Working with the actual divers who did the rescue was an honor… such amazing individuals who were selfless and brave. They were able to go into an environment that very few people would even be able to survive in, let alone succeed in doing the impossible. I felt that needed to be represented in the best way possible. And for me the best way was to shoot it with that sensor and those lenses.”
Find out more HERE.
August 2, 2022
AJA Releases Mini-Config v2.26.4
Feature-rich software update streamlines conversion workflows, delivers enhanced flexibility
Grass Valley, CA (August 2, 2022) – AJA Video Systems today launched Mini-Config v2.26.4, a free software update for AJA’s line of Mini-Converters covering a broad range of 4K, HD, and SD conversion needs spanning broadcast, production, post, and proAV. The release brings several user-requested enhancements to AJA’s HA5-12G, HA5-4K, HA5-Plus, HA5-Fiber, Hi5-12G, Hi5-4K-Plus, 4K2HD, 12G-AM, and 12G-AMA Mini-Converters.
HA5-12G and HA5-4K
AJA Mini-Config v2.26.4 adds input signal preprocessing controls to HA5-12G and HA5-4K Mini-Converters, allowing professionals to accept sources with high jitter. All HA5-12G Mini-Converters now also support 12-bit SDI output, include Genlock controls for “HDMI In” and “Free Run” selections, and automatically mute the SDI output if no valid signal is detected on the HDMI cable or it is removed.
HA5-Plus and HA5-Fiber
Via the latest release, AJA has added a simple Frame Rate Converter (FRC) to HA5-Plus and HA5-Fiber Mini-Converters that uses a frame drop/frame repeat methodology to convert integer input video frame rates to non-integer (e.g. p60 to p59.94) or non-integer to integer (e.g. p59.94 to p60). Newly added EDID Emulation allows users to specify a video format for the EDID, and the information is then sent to the source video device. The feature can indicate whether YCbCr formats are supported as well as the number of supported audio channels (2 or 8).
Hi5-12G and Hi5-4K Plus
AJA Mini-Config v2.26.4 adds 12-bit support to AJA Hi5-12G and Hi5-4K-Plus Mini-Converters.
12G-AM and 12G-AMA
Rounding out Mini-Config v2.26.4, a 1.5G-SDI Internal Signal Generator enables 12G-AM and 12G-AMA Mini-Converters to allow the embedder path to function without the need to connect a source to the SDI input. HDR and Colorimetry metadata are now also displayed for these models in Mini-Config.
“Media and entertainment professionals need to be able to seamlessly move signals between various equipment in the field, which requires reliable, high-quality conversion. AJA develops a broad range of Mini-Converters to support these needs, and we continue to advance our Mini-Converter feature set to help professionals adapt to whatever scenario the job might pose,” shared AJA President Nick Rashby. “AJA Mini-Config v2.26.4 brings a host of powerful new features and improvements that we’re excited to share with users.”
Additional enhancements for AJA 4K2HD, Hi5-12G, Hi5-4K-Plus, and 12GM Mini-Converter models are also available via Mini-Config v.2.26.4. AJA recommends all AJA Mini-Converter users download the free update today from the Mini-Config Support Page. For more details about AJA’s Mini-Converter products, visit: www.aja.com/family/mini-converters.
July 14, 2022
CineGear LA Technology Achievement Winners Announced & Atlanta Registration is Now Open
It's official—October 7-8, 2022 the industry's most renowned southern industry event will return to Atlanta Georgia’s Trilith Studios (same studio, new name). Signups for attending the Hollywood-meets-southern-hospitality CineGear Expo are free at: https://www.cinegearexpo.com/atl-expo/atl-registration/
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CineGear Expo is also pleased to announce the LA '22 Technical Achievement Award recipients. CineGear’s team of expert judges, representing multiple industry disciplines, examined each product submitted at the June CineGear Expo in Los Angeles. After weeks of extensive deliberation, they have selected worthy new motion picture gear in 12 product categories.
The win in Camera Technology went to Sony Electronics for the SONY VENICE 2 camera system. In the Camera Accessories category, the award was given to Moonlighting Industries (designers: Miko Lazic, Henrik Lander, Oscar Thörn, Jonas Nockert, Andreas Persson, Andreas Wallberg, Mathias Farnebo, Örjan Söderberg, Lars-Olof Berg, and Michel Cardoso Teixeira) for the Moon Smart Focus rangefinder.
In the hotly competitive Optics category, the main award went to Angenieux for the Optimo Primes – Integrated Optical Palette (IOP) designed by Arnaud Esbelin. An Honorable Mention went to ZEISS for their Supreme Prime Radiance lenses.
The Support Technology prize went to Tilta for their Hydra-Arm Mini portable camera crane with an Honorabe Mention bestowed upon Motorized Precision (Designers: Sean Brown, Brian Davidson)
for their MP-AR motion control robotics tool. In the abundant Lighting Technology category there was a dead heat between Velvet USA for The Velvet Cyc 6 LED cyclorama light and the RuPixels Inc, RuFlex System (designer: Michael Kelly) for interactive lighting.
Post-Production Technology winner was Blackmagic Design for the DaVinci Resolve 18. Diety Microphones picked up the Sound Technology win for their TC-SL1 Wireless Timecode Slate (designer: Andrew Jones).
The Other Technologies category brought in two winners. SmallHD scored for their Vision 24 and Vision 17, 4K HDR Production Monitors. Filmmaking Research Lab (Designers: Lawrence Sher ASC, Alon Ziv, Bodhi Oser, Ethan Young) also took home a win for their ShotDeck filmmaking research website.
The CineGear 2022 esteemed panel of Tech Awards judges included: Jeff Siljenberg, Joe Lewis, Joshua Pines, Lawrence Sher, ASC, Sarah Priestnall, Ted Hayash and Peter Santoro.
For additional information on upcoming shows, industry vendors and happenings throughout the year visit www.cinegearexpo.com.
July 7, 2022
ZEISS Conversations with Steven Meizler
DP of The Queen's Gambit
Tuesday July 19th at 12pm PST
This virtual ZEISS Conversation event is taking place with esteemed Emmy Award-
winning Director of Photography, Steven Meizler! Meizler is known for his work on TV
series such as, The Girlfriend Experience, Godless, The OA, and many more titles
including The White House Plumbers, an upcoming American political drama TV
miniseries. We'll chat about his experience using ZEISS Supreme Primes on all seven
episodes of "The Queen's Gambit," and get feedback on his collaboration with Director
Scott Frank.
Hear about how he developed his operating style based on many years working on
feature films as a first AC, as well as equipment choices.
To Register:
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First 300 people to sign up will be accepted. Recorded session will be uploaded to @zeisslensesamericas on YouTube at a later date.
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A Zoom link will be emailed to ticket holders upon registration for the event. Please check your spam folder for Zoom Webinar reminders.
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Register HERE.
June 27, 2022
Top Honor for Women in Media WIM + ZEISS Altitude Awards Goes to Estzer Csepeli, HCA
ZEISS hosted the Women in Media WIM + ZEISS Altitude Awards Ceremony on June 9 to celebrate the recipients of the prestigious annual honors. Held at Cine Gear Expo in the Los Angeles Convention Center, the air was thick with anticipation as the auditorium filled with nominees, WIM members, and guests.
The full house was greeted by Tema Staig, founder of Women in Media which is dedicated to promoting gender balance in the film and entertainment industries. Also on hand to help launch their new annual Altitude Awards collaboration was ZEISS' Tony Wisniewski, Senior Manager of Marketing and Anna Schmidt, Cinema Marketing for the Americas.
Submissions were open to camera operators, gaffers, and cinematographers. Esteemed judges including ASC members Johnny Simmons, Tami Reiker, Alan Caso, Sandra Valde-Hansen, and David Harp as well as cinematographers, Laura Merians Gonçalves and Ana M. Amortegui, carefully surveyed the applicant's reels, supplemental materials, and artist statements.
On stage Staig named the Semi Finalists: Michelle Clementine, Jenny Desrosiers, Rachael Hastings, Crystal Kelley, Emilia Mendieta Córdova, Lucia Rinaldi, Elle Schneider, Aymae Sulick, Haley Watson, and Sarah Thomas Moffat. Then the finalists included: Jenn Gittings, Barbie Leung, Caitlin Machak, Sarah Phillips, Ashton Rae, and Jen White. All took home a brimming bag of filmmaking gear contributed by: Quasar Science, Rosco, Filmtools, and ShotDeck.
Next Lawrence Sher ASC ("Joker," "Hangover," "Garden State") took the podium to award the WIM + ZEISS Altitude winners. ZEISS' First Prize $3,000 cash award, in addition to one week free use of ZEISS prime lenses, went to cinematographer Eszter Csepeli. A founding member of the Hungarian Cinematography Association (HCA), her body of work includes the Palme d’Or nominated short, The Execution, and the upcoming feature, The Flower of the Apple Tree. Second Prize $1,000 was awarded to cinematographer Jendra Jarnagin while Carolina Costa and Veronica Bouza took home $500 in addition to other generous prizes.
The evening concluded with a party for winners and guests sponsored by Frame.io and ZEISS.
To find out more about Women in Media (WIM) visit: https://womennmedia.com/ and #HireTheseWomen
For more about ZEISS contact www.zeiss.com/cine-democenter
About ZEISS
ZEISS is an internationally leading technology enterprise operating in the fields of optics and optoelectronics. In the previous fiscal year, the ZEISS Group generated annual revenue totaling 6.3 billion euros in its four segments Semiconductor Manufacturing Technology, Industrial Quality & Research, Medical Technology and Consumer Markets (status: 30 September 2020).
For its customers, ZEISS develops, produces and distributes highly innovative solutions for industrial metrology and quality assurance, microscopy solutions for the life sciences and materials research, and medical technology solutions for diagnostics and treatment in ophthalmology and microsurgery. The name ZEISS is also synonymous with the world's leading lithography optics, which are used by the chip industry to manufacture semiconductor components. There is global demand for trendsetting ZEISS brand products such as eyeglass lenses, camera lenses and binoculars.
With a portfolio aligned with future growth areas like digitalization, healthcare and Smart Production and a strong brand, ZEISS is shaping the future of technology and constantly advancing the world of optics and related fields with its solutions. The company's significant, sustainable investments in research and development lay the foundation for the success and continued expansion of ZEISS' technology and market leadership. ZEISS invests 13 percent of its revenue in research and development – this high level of expenditure has a long tradition at ZEISS and is also an investment in the future.
With over 32,000 employees, ZEISS is active globally in almost 50 countries with around 30 production sites, 60 sales and service companies and 27 research and development facilities. Founded in 1846 in Jena, the company is headquartered in Oberkochen, Germany. The Carl Zeiss Foundation, one of the largest foundations in Germany committed to the promotion of science, is the sole owner of the holding company, Carl Zeiss AG. Further information at www.zeiss.com
ZEISS Consumer Products
ZEISS Consumer Products combines the company's business with camera and cine lenses, binoculars, spotting scopes and hunting optics. The unit is allocated to the Consumer Markets segment and is represented at sites in Oberkochen and Wetzlar.
June 22, 2022
From star-studded Hollywood film premieres and concerts to esports tournaments and reality shows, BC Live Productions helps bring the wow factor to live productions around the world. Musician-turned-live event producer, BC Live CEO Brett Collins founded the company out of his living room and has since grown it to include four locations in and around Los Angeles that offer a combination of on-site and remote live production services as well as gear rental. With a job that leaves no room for second takes, Collins has made AJA gear a go-to in the company’s ever-expanding kit.
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“We rely on a lot of AJA products that we source from Key Code Media, both in production and our rental pool. We use Fiber on a lot of projects so that we can transmit audio and video across longer distances, so FiDO Mini-Converters have been great for video transport; the four-channel throw down is super convenient,” noted Collins. “We also do a lot with KUMO routers, and the Ki Pro GO multi-channel H.264 HD recorders are fantastic for when clients want files right away – they can just grab the USB drive and go as soon as the program wraps.”
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While the BC Live team initially developed remote workflows for its international corporate clients pre-pandemic, they quickly pivoted to offering remote kits as work on local in-person, on-site shows ceased. Demand for the remote kits skyrocketed, and the company’s solutions helped productions get back on air safely, from talk shows, game shows, and reality competitions, like “RuPaul’s Drag Race,” to content for the NBA and NFL. Using its AJA gear, the BC Live team can continue delivering high production value content remotely.
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“The pandemic challenged many production outfits, BC Live included, to embrace distributed ways of working, and now that people have realized that everyone doesn’t have to be in the same place to create content, it’s becoming easier to keep pace with consumer demand for content,” Collins explained. “As clients become more aware of new possibilities, however, the requests become a little more adventurous. We try to stay ahead of the curve and anticipate their asks, so that we’re always providing the best solutions possible. Part of that is evaluating new technologies and implementing them where it makes sense, like video over IP, which is now totally ubiquitous.”
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“There are also endless instances where we need to spit out different flavors of video, which is easy to navigate with our AJA gear, even as we step into the 4K world. Our Ki Pro units are also super popular as rentals,” he added. “ In general, using AJA gives me comfort because I know they take their engineering seriously, and their tools hit the trifecta of metrics: price point, reliability, and elegance.”
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One of BC Live’s largest undertakings to date was for an event celebrating the launch of “Arcane,” an animated Netflix series set in the universe of Riot Games’ “League of Legends,” which attracted 10 million viewers upon its debut. Collins and his team streamed the red carpet event to Twitch – which was held at Riot’s Santa Monica campus and featured a large dome with a projection map on the interior. Its team handled everything from the initial event broadcast to the live show premiere, and a re-broadcast for the European audience, streamed in 22 languages simultaneously. To pull it off, the team recorded the show in ProRes to a tower housing many AJA Ki Pro Ultra Plus recorders. One master video file was embedded with 22 different languages to stream out across an encoder farm, and each one of those was discretely recorded onto a Ki Pro. For the re-broadcast, the team wrote code to gang play the Ki Pros, and outputs were sent to different encoding channels to go to different regions.
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As Collins looks to the future of live production, he’s keeping an eye on video over IP technology. He concluded, “Plugging in BNC is great for reliability, but with IP video, you can also include a lot of ancillary data, and it’s incredibly scalable. Fortunately, we have exceptional network engineers so adding IP capabilities has been relatively smooth and we’ve been able to thrive in the remote world. Each new venue or OB truck we interface with has their own set of connectivity protocols, so we need to be nimble and make sure we’re able to work with all kinds of formats. With gear from manufacturers like AJA, we’re well situated to navigate between protocols, platforms and codecs.”
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About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
June 3, 2022
Renowned lens giant ZEISS is pulling out the stops at Cine Gear Expo June 9, 10, and 11, 2022 with a host of activities and events dedicated to cinematography.
ZEISS Conversations kick-off Thursday, 3:45-4:45, in Petree Hall with a roundtable regarding how each artist achieves their special "look" and finding the right balance of art and technology. Moderated by ZEISS Cinematography’s Snehal Patel, panelists include Michael Dallatorre, Michelle Clementine and George Mooradian ASC.
Following at 5:30pm in room 515A ZEISS will host the Women in Media WIM +ZEISS Awards Ceremony to celebrate the semi-finalists, finalists, and announce the winners of the prestigious annual honors. Judges include ASC members Johnny Simmons, Tami Reiker, Alan Caso, Sandra Valde-Hansen, and David Harp as well as cinematographers, Laura Merians Gonçalves and Ana M. Amortegui. All Cine Gear Attendees are welcome.
Friday 4:30pm ZEISS Conversations continues in Petree Hall with cinematographer Eszter Csepeli. A founding member of the Hungarian Cinematography Association (HCA), she joins Snehal Patel to discuss her body of work, including the Palme d’Or nominated short, The Execution, as well as her upcoming feature, The Flower of the Apple Tree, lensed on ZEISS Supreme Primes.
Then Saturday at 3:00pm in Room 515A, Robert McLachlan, ASC, CSC stops by to talk about his cinematography on Game of Thrones, Lovecraft Country, Ray Donovan and Westworld and the upcoming series American Gigolo, filmed with Supremes, including the newest edition to the family, the 15mm.
Throughout the show in Cine Gear Booth #143 ZEISS will display their range of cine optics including the new wide 15mm T1.8 lens which completes the 14-lens Supreme Prime set. Attendees can also see the Supreme Prime Radiance family, known for stunning blue flare capability as well as CZ.2 full-frame Cinema Zooms and CP.3 cinematography lenses.
Also in the booth, the optics pioneer will demonstrate the new VFX studio software solution, ZEISS CinCraft Mapper that opens the door to a whole new workflow ecosystem. This groundbreaking digital service quickly and easily provides frame-accurate lens distortion and shading data essential to VFX for the most cinematic digital compositing and matchmoving.
For more information on ZEISS and links to online ZEISS Conversations visit:
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About ZEISS
ZEISS is an internationally leading technology enterprise operating in the fields of optics and optoelectronics. In the previous fiscal year, the ZEISS Group generated annual revenue totaling 6.3 billion euros in its four segments Semiconductor Manufacturing Technology, Industrial Quality & Research, Medical Technology and Consumer Markets (status: 30 September 2020).
For its customers, ZEISS develops, produces and distributes highly innovative solutions for industrial metrology and quality assurance, microscopy solutions for the life sciences and materials research, and medical technology solutions for diagnostics and treatment in ophthalmology and microsurgery. The name ZEISS is also synonymous with the world's leading lithography optics, which are used by the chip industry to manufacture semiconductor components. There is global demand for trendsetting ZEISS brand products such as eyeglass lenses, camera lenses and binoculars.
With a portfolio aligned with future growth areas like digitalization, healthcare and Smart Production and a strong brand, ZEISS is shaping the future of technology and constantly advancing the world of optics and related fields with its solutions. The company's significant, sustainable investments in research and development lay the foundation for the success and continued expansion of ZEISS' technology and market leadership. ZEISS invests 13 percent of its revenue in research and development – this high level of expenditure has a long tradition at ZEISS and is also an investment in the future.
With over 32,000 employees, ZEISS is active globally in almost 50 countries with around 30 production sites, 60 sales and service companies and 27 research and development facilities. Founded in 1846 in Jena, the company is headquartered in Oberkochen, Germany. The Carl Zeiss Foundation, one of the largest foundations in Germany committed to the promotion of science, is the sole owner of the holding company, Carl Zeiss AG. Further information at www.zeiss.com
ZEISS Consumer Products
ZEISS Consumer Products combines the company's business with camera and cine lenses, binoculars, spotting scopes and hunting optics. The unit is allocated to the Consumer Markets segment and is represented at sites in Oberkochen and Wetzlar.
May 24, 2022
OWC Brings on Farshid Tabrizi to Lead New Atlas Series Media Cards and Card Readers Product Lines
OWC Atlas Pro and Atlas Pro Ultra CFexpress Type-B memory cards are now shipping
OWC®,a leading customer-focused creator of innovative solutions for over 30 years that have enabled individuals, businesses, creative professionals, and educators to get maximum usefulness from their technology investment, today announces it has tapped industry veteran Farshid Tabrizi to lead the new Atlas series of CFexpress cards, SD cards, and card readers. ​
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Farshid Tabrizi brings the knowledge of over 30 years of experience in the high-tech industry building and leading successful business development, marketing, design, and manufacturing engineering organizations. A proven leader in the photo media storage ecosystem Farshid Tabrizi plans to expand the OWC storage media catalog with even more innovative products for years to come.
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​"OWC is the leader in workflow solutions that professional photographers and videographers depend on daily, " said Farshid Tabrizi, Sr. VP of Flash Memory & Media Development. I am thrilled to join the OWC team to deliver the highest quality and the most differentiated memory cards and readers to complement the existing products and solutions."
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"We are so thrilled to have Farshid Tabrizi on staff with OWC," said Larry O'Connor, OWC Founder & CEO. "With his knowledge of the photography and storage industry, the sky is the limit on what new innovative products we can create for creative professionals. OWC will continue to increase our level of investment into cutting edge media storage and deepening our relationships and engagement within the video and photography industry."
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​OWC Atlas Pro CFexpress Type B cards are Now Shipping
The OWC Atlas Pro CFexpress Type-B cards are the perfect solution for reliably capturing RAW images and up to 8K footage of fast-moving sports, nature, and other action scenes in demanding locations. Rugged and OWC Beyond Fast™, these cards are ideal for professional photographers, videographers, and content creators. The OWC Atlas Pro CFexpress Type-B cards support up to 8K Capture, 1791 MB/s Peak Speed1, and XQD Compatible2. The OWC Atlas Pro™ CFexpress is available in 512GB, 1TB, and 2TB capacities, and the OWC Atlas Pro Ultra™ CFexpress is available in 320GB and 640GB capacities.
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OWC Atlas Pro™ and Atlas Pro™ Ultra Highlights
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Advanced: Utilizes the latest flash storage technologies to provide leading-edge performance, durability, and reliability
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Efficient: Fast write speeds let you offload data to your computer for immediate file access and quicker post-production
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Tough: Impact, bend, shock, UV ray, and x-ray resistant
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Supportive: Compatible with the latest Canon, Nikon, PhaseOne and Panasonic cameras
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Compliant: Fully meets CFexpress Type B 1.0 and 2.0 specifications
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Worry-Free: Up to 5 Year OWC Limited Warranty
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Pricing & Availability
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The OWC Atlas Pro Ultra™ CFexpress is available now in 320GB and 640GB capacities starting at $399.00 on Macsales.com
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The OWC Atlas Pro™ CFexpress is available now in 512GB, 1TB, and 2TB capacities starting at $349.00 on Macsales.com
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Also available The OWC Atlas S Pro™ SD UHS-II V90 SD media card is available now in 64GB, 128GB, and 256GB capacities on Macsales.com, starting at $69.00
May 18, 2022
Take, access, save, and share your data anywhere with any computer, tablet, and more, available in 250GB, 500GB, and 1TB capacities
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OWC®,a leading customer-focused creator of innovative solutions for over 30 years that have enabled individuals, businesses, content professionals, and educators to get maximum usefulness from their technology investment, today introduced the OWC Envoy Pro mini.
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The OWC Envoy Pro mini is a pocket-sized SSD with full-sized SSD performance and capacity for audio, photography, graphics, gaming, and general data storage/backup uses. Now, everyday users, students, mobile professionals, IT techs, and content creators can take, access, save, and share their data anywhere. The OWC Envoy Pro mini works with USB and Thunderbolt (USB-C) Macs, PCs, iPads, Chromebooks, Android tablets, and Surface devices made over the last 15 years. Available in 250GB, 500GB, and 1TB capacities and can access and transfer data with everything at up to 946MB/s real-world speed with Plug and Play ease.
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Boot, Backup, Beats, and Blockbusters
Launch your OS and apps on a remote machine. Back up important data, a business presentation, or a classroom project. Capture some sweet drumbeats in a 24-track session or tracks from your DJ deck. Watch a blockbuster movie on a Smart TV 2, whatever your data desire. The Envoy Pro mini lets you do it all:
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Store photos, videos, movies, music, and documents
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Consolidate files from multiple smaller drives for faster, more convenient access
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Migrate data from an existing machine to a new computer
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Free up space on a computer's internal drive to improve performance
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Schedule Time Machine or File History backups of essential business data and irreplaceable personal photos ​
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Create a secondary/portable OS boot drive
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Explore, share, and travel with large Affinity Photo and Adobe Photoshop master files
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Record tracks on a multitrack mixer
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Utilize large sample libraries within audio projects
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Create a portable Steam games library
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Expand game storage of console gaming systems
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Reads and Writes Mac and Win Files
Using the Envoy Pro mini in a mixed Mac and Windows environment is remarkably easy with the addition of OWC’s MacDrive (sold separately). This seamless software runs in the background, so there is nothing to launch or learn. Just plug in the Envoy Pro mini, and not only do you have instant-read access, but full write access. MacDrive also includes powerful features that enable you to format and partition drives and repair fundamental disk issues.
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OWC Envoy Pro mini Highlights
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Universally compatible: plug and play with USB or Thunderbolt (USB-C) ports on Macs, PCs, iPads, Chromebooks, Android tablets, and Surface devices
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Versatile: perfect for audio, photography, graphics, gaming, and general data storage/backup uses
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Protective: Apple Time Machine and Windows File History ready
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Game on: ideal for game storage with PlayStation and Xbox consoles
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Entertainment center: watch videos, listen to music, and view pictures through your Smart TV
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Bootable: Startup and launch apps in just seconds
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Slim: keeps adjacent ports available for use
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Pocket-sized: thumb drive-sized and bus-powered for easy transport and use anywhere
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Wear and share: safety breakaway neck lanyard keeps drive at fingertip reach while a detachable end offers easy drive sharing between devices and other users
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Silent: heat-dissipating machined aluminum housing for calm and quiet use
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Worry-free: 3 Year OWC Limited Warranty
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Pricing & Availability
​The OWC Envoy Pro mini is available for pre-order in 250GB, 500GB, and 1TB capacities on Macsales.com, starting at $79.00.
May 12, 2022
We're back virtually for another ZEISS Conversation event with Brendan Uegama! Brendan has an impressive list of interesting projects such as Moonshot, Child's Play, Van Helsing, Chilling Adventures of Sabrina, Truth Be Told, Riverdale and his upcoming series release, Iron Mike, which explores the career of heavyweight champion Mike Tyson.
Join us as we chat all things cinematography, from inspirations to lens choices on fan-favorite projects. We'll also hear from Brendan about how his ancestry inspired his art, and how that tied into his early career. We look forward to seeing your questions during the Q&A!
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Wednesday May 18th at 12pm PST
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May 3, 2022
ZEISS Cinematography introduces its first service of the new CinCraft ecosystem for the digital application of lens looks into compositing and matchmoving workflows.
With CinCraft Mapper, ZEISS presents a new digital service that quickly and easily provides frame-accurate lens distortion and shading data for the visual effects (VFX) industry. This data is essential for digital compositing and matchmoving in order to achieve a cinematic result that is as realistic and precise as possible. “Normally, lens grids must be recorded and processed in order to obtain this data – a process that is not only very time-consuming, but also error-prone and limited in scope,” explains Jonathan Demuth, Product Manager, Digital Cinematography at ZEISS. “With just a few clicks, CinCraft Mapper now provides this data directly on the basis of the metadata (lens type, focus distance, aperture) captured during film production. Lost clip metadata can also be added without difficulty. For compositing and matchmoving artists, this means that they can be sure they are not only receiving accurate data without having to rely on the preceding capture and workflow procedures, but also that the entire VFX process will be simplified and accelerated. The VFX studio also benefits directly from the more efficient workflow.”
Frame-accurate lens data for complex shots
ZEISS CinCraft Mapper delivers precise, frame-accurate lens data with which complex shots with multiple and dynamic focusing distances, such as car chases, can be edited more easily, quickly and completely, without the need to make assumptions due to incomplete data. “CinCraft Mapper expands on the ZEISS eXtended Data (XD) technology that we introduced with the ZEISS Compact Prime CP.3 and have subsequently integrated into each new cine lens family,” adds Christophe Casenave, Head of Cinematography Products at ZEISS. “VFX artists no longer have to rely only on eXtended Data generated by lens and camera equipment on set. Now additional and historic lens family shading and distortion data can also be provided by the CinCraft Mapper service. At the same time, the service is also compatible with the existing XD technology.” CinCraft Mapper delivers industry standard ST Maps for distortion and Multiply Maps for shading. These can be used directly in compositing and matchmoving software such as Nuke, Flame, and 3DEqualizer.
“Mapper is just the beginning for our CinCraft ecosystem. We are already looking forward to being able to offer even more services in the future, which will provide a broad range of aspects of lens looks for VFX and other applications,” concludes Casenave.
For further information and availability about ZEISS CinCraft Mapper and the possibility of testing the service with a free start budget visit https://cincraft.zeiss.com/us/mapper.
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About ZEISS
ZEISS is an internationally leading technology enterprise operating in the fields of optics and optoelectronics. In the previous fiscal year, the ZEISS Group generated annual revenue totaling 6.3 billion euros in its four segments Semiconductor Manufacturing Technology, Industrial Quality & Research, Medical Technology and Consumer Markets (status: 30 September 2020).
For its customers, ZEISS develops, produces and distributes highly innovative solutions for industrial metrology and quality assurance, microscopy solutions for the life sciences and materials research, and medical technology solutions for diagnostics and treatment in ophthalmology and microsurgery. The name ZEISS is also synonymous with the world's leading lithography optics, which are used by the chip industry to manufacture semiconductor components. There is global demand for trendsetting ZEISS brand products such as eyeglass lenses, camera lenses and binoculars.
With a portfolio aligned with future growth areas like digitalization, healthcare and Smart Production and a strong brand, ZEISS is shaping the future of technology and constantly advancing the world of optics and related fields with its solutions. The company's significant, sustainable investments in research and development lay the foundation for the success and continued expansion of ZEISS' technology and market leadership. ZEISS invests 13 percent of its revenue in research and development – this high level of expenditure has a long tradition at ZEISS and is also an investment in the future.
With over 32,000 employees, ZEISS is active globally in almost 50 countries with around 30 production sites, 60 sales and service companies and 27 research and development facilities. Founded in 1846 in Jena, the company is headquartered in Oberkochen, Germany. The Carl Zeiss Foundation, one of the largest foundations in Germany committed to the promotion of science, is the sole owner of the holding company, Carl Zeiss AG. Further information at www.zeiss.com.
ZEISS Consumer Products
ZEISS Consumer Products combines the company's business with camera and cine lenses, binoculars, spotting scopes and hunting optics. The unit is allocated to the Consumer Markets segment and is represented at sites in Oberkochen and Wetzlar.
April 21, 2022
Technology leader showcases new innovative solutions for the video industry
OWC®,a leading customer-focused creator of innovative solutions for over 30 years that have enabled individuals, businesses, content professionals, and educators to get maximum usefulness from their technology investment, today introduced its itinerary for NAB 2022, which will be in Las Vegas on April 23-27, 2022, at the Las Vegas Convention Center.
OWC is thrilled to showcase several innovative new storage system upgrades that deliver blazing transfer speeds and unparalleled reliability for media professionals with storage-intensive workflows. For those attending NAB, visit booth C3836 in the Central Hall to see all these new solutions and existing award-winning dock, hub, and software staples. OWC’s focus is to get a lot of the infrastructure technology out of the way so you can focus on what drives you.
Jellyfish R24
OWC is proud to introduce the R24 as the flagship product of its Jellyfish lineup. The Jellyfish R24 redefines what a rack-mounted server for video teams should be. Built with 24 bays of HDD storage and up to 432 TB (expandable to over 1.5 Petabytes), the R24 comes with 512 GB of RAM and 2 TB of SSD cache and 8 TB of NVME cache pool. The R24 is guaranteed to make sure your professional video editors are editing together at the speed of thought. There is no rack-mounted NAS server on the market with more power or better designed for what video teams do. Combining that with the same plug-and-play ease of use and software that the rest of the Jellyfish models have, the R24 becomes the perfect server to build your content team around.
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Jellyfish Mobile
Known worldwide as the gold standard portable NAS for video teams, The Jellyfish Mobile is your plug-and-play, easy-to-use best friend for your small in-house or on-the-go content team. The Jellyfish Mobile is a complete gamechanger for your team's video workflow. With no IT, you can easily connect to 14 10G or 1G video editors and spread up to 2300 MB/s in real-world video speed to them.
OWC Flex 1U4
The OWC Flex 1U4 is a highly flexible, professional-grade, 4-bay Thunderbolt storage and docking solution designed for rackmount workflows. Media professionals can utilize a mix of 2.5 or 3.5-inch SATA/SAS and U.2/M.2 NVMe drives in the hot-swappable drive bays. Connect gear, including additional storage, displays, and more, and charge mobile devices with seven Thunderbolt and USB ports. To customize your workflow, add an audio/video capture, 10Gb Ethernet networking, SSD storage, hardware RAID, or I/O card to the PCIe slot.
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Copy That for Mac
Once you’ve captured your footage, you need to quickly and accurately transfer your hard work to backups, editors, producers, and directors. Copy That for Mac is OWC’s latest workflow tool built to accomplish this task. Copy That streamlines the ingest process with lighting fast, verified copies of your files from RED, Blackmagic, ARRI cameras, and other storage media. Copy That handles everything from checksum copies to simultaneous transfers to multiple storage solutions. When it is time to move from location to editing, Copy That gets your data there fast and secure.
The OWC Thunderbolt Pro Dock is designed specifically for professional video, audio, and photography workflows requiring the fastest docking connections. Send volumes of audio in real-time with AVB 10Gb/s Ethernet. Ingest RAW photos at up to 1630MB/s with CFexpress and SD card readers. Transfer a day’s 4K video shoot up to 90% faster. View projects in greater detail with an 8K display. Get the most from your peripherals and keep everything tidy with four USB 10Gb/s ports. When you need the best to be your best, the OWC Thunderbolt Pro Dock has you covered.
OWC Atlas Pro™ and Atlas Pro™ Ultra
The OWC Atlas Pro and Atlas Pro™ Ultra CFexpress Type B memory cards are rugged, and OWC Beyond Fast™ with peak speeds up to 1791MB/s. They're ideal for professional photographers, videographers, and content creators who need to capture every crucial moment confidently at one-time events like concerts, sporting events, and film sets. The Atlas Pro Ultra is ready for rapid-fire burst mode and high resolution 8K video capture with sustained 1533MB/s (640GB) or 1667MB/s (320GB) write speeds.
OWC flash storage solutions are put through intensive performance testing so video and photo professionals can depend on real-world speeds in their workflows. Truthfully listing Atlas S Pro cards for reliable performance up to 276MB/s write and 290MB/s read speeds defines our commitment to the "OWC Difference," which ensures you'll be completely satisfied these SD UHS-II V90 cards will deliver the performance you are counting on.
OWC Atlas FXR
Sized similarly to a credit card, the OWC Atlas FXR is the smallest Thunderbolt CFexpress card reader and easily fits into the smallest camera bag. The OWC Atlas FXR allows you to transfer video footage and photos from CFExpress (Type-B) cards on location, in the studio, or at the edit suite to virtually any Thunderbolt or USB port-equipped computer or tablet at over 1500MB/s speed. You can pack more accessories to help capture those unforgettable moments.
This easily integrated tape backup and archiving solution is a mission-critical requirement for protecting and preserving vast volumes of data for more extended periods with the familiar drag-and-drop operation and better economies of scale than disk-based storage. The OWC Mercury Pro LTO is the answer to this challenge and is now available with LTO-9. Ruggedly small with a built-in handle, the Mercury Pro LTO can go on-set or move among studio, department, or office computers for a shared data protection solution. Configurable by adding up to a 16TB SSD in the universal 2.5/3.5-inch drive expansion bay and expandable by utilizing the second Thunderbolt 3 port to add up to five additional Thunderbolt devices, or your choice of a USB-C or DisplayPort device. See more with the DisplayPort 1.4 for connecting to an 8K display. Charge while working 85W of notebook charging. Also available in LTO 8.
Jupiter Callisto
If you're in the market for a do-it-all server that you can configure precisely around your needs, OWC made the Jupiter for you. The Jupiter Callisto is the perfect server for DIY'ers who want to design their own NAS, small businesses, and teams who need a nearline backup solution for their Jellyfish. A powerful, highly configurable, affordable NAS solution, OWC Jupiter units come standard with (2) 10G ports and can be purchased from 64TB to 288TB of capacity.
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Pricing & Availability
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Jellyfish by OWC is available now on Macsales.com
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OWC Flex 1U4 is available now on Macsales.com starting at $1899.00
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OWC Thunderbolt Pro Dock is coming soon on Macsales.com for $399.00
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OWC Copy That for Mac is currently available for download as a public beta
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OWC Mercury Pro LTO is available now on Macsales.com starting at $4699.00
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OWC Atlas S Pro™ SD UHS-II V90 SD media card is available now in 32GB, 64GB, 128GB, and 256GB capacities on Macsales.com starting at $39.00
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OWC Atlas Pro™ CFexpress is available now on Macsales.com in 512GB, 1TB, and 2TB capacities
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OWC Atlas Pro Ultra™ CFexpress will be available at the end of the month on Macsales.com in 320GB and 640GB capacities
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OWC Atlas FXR will be available in Q2 2022
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OWC Jupiter Callisto is available now on Macsales.com
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About OWC
Other World Computing (OWC), founded in 1988, is committed to supporting and inspiring the imagination of Mac and PC enthusiasts throughout the world through sustainable innovation, exemplary customer service, and American design. An entire spectrum of easy, DIY upgrade and expansion possibilities await Memory, External Drives, SSDs, Mac & PC Docking Solutions, Network Attached Storage, and
Performance Upgrade Kits solutions. All backed with step-by-step videos and a global support team. Our dedication to excellence and sustainable innovation extends beyond our day-to-day business and into the community. We strive for zero waste, both environmentally and strategically. We have a long-term outlook on everything we do and believe in making a better world. From the home desktop to the enterprise rack, the corporate backup to secure medical data, the recording studio to the motion picture set, and beyond, there should be no compromise, and that is why OWC is here.
April 20, 2022
AJA Delivers New Streaming, 12G-SDI, IP, HDR, and Data Management Solutions and Upgrades Ahead of NAB 2022
New HELO Plus H.264 streamer/recorder, OG-FiDO-2T-12G and OG-FiDO-T-12G-ST openGear® converters, and additional updates debut
Grass Valley, CA (April 20, 2022) – AJA Video Systems today unveiled a range of powerful new solutions and updates targeted at streamlining broadcast, production, post, and proAV workflows to deliver high-resolution, HDR, and high raster content with greater ease and efficiency. New releases include the launch of HELO Plus, a compact, next-generation H.264 streaming and recording device with an advanced feature set, and a pair of openGear® 12G-SDI to fiber converters for simple transport of high-bandwidth signals up to 10km. AJA also announced feature-rich updates for its production-proven lineup of solutions, including FS4 v3.0 with advanced HDR workflow support; BRIDGE LIVE v1.13 with synchronous multi-channel transport for SDI backhaul or cloud contribution; BRIDGE NDI 3G v1.5 with new NDI® 5 support; and Diskover Media Edition v2.0, featuring new plugins for the Telestream GLIM and Vantage software.
AJA extended its line of H.264 streaming and recording devices with the debut of HELO Plus, designed to help video professionals achieve a higher production value with greater cost efficiency and a smaller gear footprint. Dual streaming outputs allow users to create assets with different parameter settings per output (bit rate, GOP length, frame rate, picture geometry, b-frame cadence, etc.), and feed each into one of two destinations, so that they can easily create assets with different parameter settings from a single input or layered imagery from both inputs with built-in graphics abilities. HELO Plus users can also select either of the encoders to drive USB, SD card, or NAS recording, and can include the output of the graphics layout compositions. Additional features include SRT support, improved scheduling options and device operation, and group control for triggered start/stop operations with Ki Pro Ultra 12G.
OG-FiDO-2T-12G and OG-FiDO-T-12G-ST
A pair of new openGear®-compatible 12G-SDI to fiber conversion solutions are now available, including OG-FiDO-2T-12G, a dual-channel 12G-SDI to fiber transmitter that supports conversion of two independent channels of baseband 12G-SDI to LC fiber for simple transport of signals up to 10km. The new OG-FiDO-T-12G-ST supports single-channel 12G-SDI to fiber conversion, enabling the transport of a single 12G-SDI baseband signal over ST fiber for remote or long-distance workflows. Both new models support HDR video, feature industry-wide compatibility with certified openGear products, and support Ross DashBoard software for remote control and monitoring.
AJA’s FS4 4K/UltraHD and multi-channel HD frame synchronizer and up/down/cross converter received a new v3.0 firmware update. Loaded with new feature improvements, the free update offers support for advanced HDR workflows, including the ability to configure the HDR components of the SDI output VPID on a channel-by-channel basis – vital for improved VPID management – and new HDR test patterns. FS4 v3.0 also increases the frame buffering depth from 6 to 20 frames, offers enhanced ancillary data management, and features improved overall usability.
BRIDGE LIVE v1.13 is a feature-rich software update for AJA’s multi-channel UltraHD and HD live video solution for remote production, contribution, collaboration, streaming, and delivery. For multi-camera workflows across a pair or multiple units, BRIDGE LIVE v1.13 introduces new multi-channel synchronous transport for SDI backhaul or cloud contribution, enabling separate UltraHD or HD channels to be transmitted and received in sync. The update also adds dual-channel UltraHD support to enable full bi-directional UltraHD exchange, and multichannel end-to-end HDR support over SDI to preserve full image parameters during transport from site-to-site.
A new v1.5 update for BRIDGE NDI 3G is now available, which brings new NDI® 5 support and a host of performance enhancements to AJA’s high-performance gateway appliance for high-density conversion to/from SDI and NewTek’s NDI® video over IP protocol. BRIDGE NDI 3G v1.5 further introduces discovery server compatibility, new low-latency settings for time critical workflows, timecode support, expanded system time options, and dynamic connection bandwidth sensing for remote management.
Diskover Media Edition v2.0 is the first update for AJA’s data management software that allows media and entertainment professionals to easily search, find, and analyze media assets and associated metadata from on-premises, remote, and cloud storage. The free update includes plug-ins for the Telestream GLIM remote media player, helping creative professionals quickly preview media files in high resolution with color accuracy via any web browser, and for the Telestream Vantage media processing platform to simplify media transcoding and generating proxy files and deliverable packages. Diskover Media Edition v2.0 also adds security enhancements to safeguard assets and streamline file searches.
More details about each new product and update are available on the AJA website.
About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional, broadcast, and post-production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
All trademarks and copyrights referenced herein belong to their respective companies.
April 20, 2022
At NAB 2022 ZEISS will show their high-end cine optics including the US introduction of the new wide 15mm T1.8 lens which completes the 14 lens Supreme Prime set. Attendees can also experience the Supreme Prime Radiance family, known for its ability to produce stunning blue flares. Glass enthusiasts can also check out the CZ.2 full-frame Cinema Zooms and CP.3 cinematography lenses as well as an array of optics for videography.
Also being premiered is a brand new VFX studio software solution that opens the door to a whole new workflow ecosystem. The team from ZEISS Oberkochen will be on hand to take guests through this groundbreaking digital solution.
Known for its educational Cinematography Conversations series, ZEISS will host four informative "Conversations" at their booth in the Central Hall which will also be live streamed.
The first of the ZEISS Conversations at NAB, kicks off on Sunday 4/24 at 2 p.m. with "Meet the ZEISS Supreme Prime 15mm." For this long-awaited product unveiling, ZEISS' Head of Products and Sales—Cinematography, Christophe Casenave, introduces the final focal length in the Supreme Prime family. DP Matt Ryan will round out the conversation by relaying his experiences shooting with the rest of family and give his insights on the new 15mm. YouTube https://youtu.be/fHuSjKYr68A.
The second ZEISS Conversation, "Celebrating Women in Cinema" will take place, Monday 4/25 at noon. Tema Staig, Executive Director of Women in Media moderates a conversation with DP and owner of boutique LA rental house BE CINE—Bianca Halpern. They will explore Halpern's career journey and new opportunities for women including WIM’s new ZEISS Altitude Award. YouTube https://youtu.be/bdtdgzvMrSo.
On Monday, at 2 p.m. ZEISS Conversations interviews Serguei Saldívar Tanaka, AMC. Mexico's esteemed cinematographer will discuss past projects and dive into discussion about the upcoming series, Horario Estelar. He will also speak about using Supreme Prime Radiance lenses to get his distinctive look on the action-thriller. YouTube https://youtu.be/irQMOHoJPJU.
The final ZEISS Conversation at NAB, "A Flare for ZEISS Supreme Radiance Lenses", will be held 4/26 at 2 p.m. Snehal Patel, Head of Cinema Sales, Americas at ZEISS will present a technical discussion of Radiance development, flare creation and flare characteristics. It will conclude with an audience Q&A. YouTube https://youtu.be/m4vIsxUReck.
About ZEISS
ZEISS is an internationally leading technology enterprise operating in the fields of optics and optoelectronics. In the previous fiscal year, the ZEISS Group generated annual revenue totaling 6.3 billion euros in its four segments Semiconductor Manufacturing Technology, Industrial Quality & Research, Medical Technology and Consumer Markets (status: 30 September 2020).
For its customers, ZEISS develops, produces and distributes highly innovative solutions for industrial metrology and quality assurance, microscopy solutions for the life sciences and materials research, and medical technology solutions for diagnostics and treatment in ophthalmology and microsurgery. The name ZEISS is also synonymous with the world's leading lithography optics, which are used by the chip industry to manufacture semiconductor components. There is global demand for trendsetting ZEISS brand products such as eyeglass lenses, camera lenses and binoculars.
With a portfolio aligned with future growth areas like digitalization, healthcare and Smart Production and a strong brand, ZEISS is shaping the future of technology and constantly advancing the world of optics and related fields with its solutions. The company's significant, sustainable investments in research and development lay the foundation for the success and continued expansion of ZEISS' technology and market leadership. ZEISS invests 13 percent of its revenue in research and development – this high level of expenditure has a long tradition at ZEISS and is also an investment in the future.
With over 32,000 employees, ZEISS is active globally in almost 50 countries with around 30 production sites, 60 sales and service companies and 27 research and development facilities. Founded in 1846 in Jena, the company is headquartered in Oberkochen, Germany. The Carl Zeiss Foundation, one of the largest foundations in Germany committed to the promotion of science, is the sole owner of the holding company, Carl Zeiss AG. Further information at www.zeiss.com.
ZEISS Consumer Products
ZEISS Consumer Products combines the company's business with camera and cine lenses, binoculars, spotting scopes and hunting optics. The unit is allocated to the Consumer Markets segment and is represented at sites in Oberkochen and Wetzlar.
April 12, 2022
AJA Unleashes New Firmware for openGear Cards
Updates streamline modern production workflows with new HDR metadata pass-through functionality, improved immersive audio support, and more for select AJA openGear solutions
Grass Valley, CA (April 12, 2022) – AJA Video Systems today released feature-rich firmware updates for OG-Hi5-4K-Plus, OG-HA5-4K, OG-4K2HD, and OG-12GM openGear cards. Building on AJA’s latest Mini-Config v2.26.3 software update for its Mini-Converter line, the new releases help production professionals maintain the integrity of signals and better manage associated metadata as they move throughout the chain. Available as free downloads from the AJA support page, OG-Hi5-4K-Plus v1.6.2, OG-HA5-4K v1.6.2, OG-4K2HD v1.5.2 and OG-12GM v1.2.2 include powerful new enhancements such as HDR VPID pass-through, BT.2020 and dual-link support, Dolby Audio compatibility, and more.
HDR is quickly evolving into a production standard, requiring more metadata from SDR and HDR equipment to be carried throughout the chain. The new firmware releases reduce the opportunity for color and brightness errors during this process via new VPID metadata pass-through for each openGear card with optional override functionality. Automating HDR metadata pass-through, the new improvement makes it easier for upstream equipment to generate HDR metadata and pass it to downstream equipment, without having it stripped or manually configured along the way. Additional feature updates include automatic infoframe generation, and custom HDMI metadata and mastering display information generation for HDMI outputs, which streamline the movement of metadata between SDI and HDMI equipment for simpler workflows and troubleshooting. OG-Hi5-4K-Plus and OG-HA5-4K also gain additional HDR capabilities with color space converter support for BT.2020.
Growing consumer adoption of Dolby Atmos audio sound systems has also driven more use of immersive audio technology in the field, yet pipelines often comprise a range of audio types such as stereo, Dolby Digital, and Dolby Digital Plus. As the audio is processed and rendered between equipment, loss of data is a risk, but OG-Hi5-4K-Plus v1.6.1 preserves embedded audio pass-through for Dolby Digital and Dolby Digital Plus compressed audio – including DD+ Atmos immersive sound. This allows professionals to monitor and validate that the immersive audio being produced is reaching end viewers.
In addition to immersive audio upgrades, the firmware releases bring dual-link support for 2x 1.5G outputs to OG-HA5-4K, and 2x 6G, 2x 3G, and 2x 1.5G input and output format support to OG-12GM.
“openGear-compatible conversion technology is in high demand, as video professionals across industries look for simpler ways to produce high-end audio and visual content for remote and streaming workflows, live events, post-production, and beyond. To aid in this pursuit, we’ve extended the capabilities of our production-proven openGear cards to support the latest industry standards, including HDR, WCG and BT.2020 color spaces and Dolby Atmos,” shared Nick Rashby, President, AJA Video Systems. “These new improvements are designed to help professionals keep HDR and immersive audio signals and metadata intact as they move throughout various equipment in the production chain, ultimately ensuring a more pristine viewer experience.”
Pricing and Availability
OG-Hi5-4K-Plus v1.6.2, OG-HA5-4K v1.6.2, OG-4K2HD v1.5.2, and OG-12GM v1.2.2 firmware updates are now available as free downloads from AJA’s support page. For more information on AJA’s full range of openGear solutions, visit: www.aja.com/family/opengear.
About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional, broadcast and post-production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
April 5, 2022
ZEISS introduces the Supreme Prime 15mm T1.8 to complete the successful Supreme Prime lens set, renowned for outstanding quality, light weight, and cinematic look. The 14-piece cine lens series ranges from 15 to 200mm with maximum apertures of T1.5 to T2.2. ZEISS covers a full range of focal lengths in demand by cinematographers from around the world. The new 15mm lens rounds out the lineup providing an extremely wide-angle view and a maximum aperture of T1.8. “This 15mm lens is the final piece of the puzzle that many cinematographers have been waiting for,” reports Christophe Casenave, responsible for cinematography products at ZEISS.
The ZEISS Supreme Primes cover a wide range of camera sensors. Thanks to their broad compatibility with current camera models, such as the Sony Venice 2, the ARRI Alexa Mini LF and the RED Monstro, and their high-quality workmanship and rugged design, Supreme Primes can be used in a wide variety of situations. Snehal Patel, Head of Cinema Sales, Americas, says, “The new Supreme Prime 15mm is a long awaited addition to the Supreme Prime line of lenses. It offers cinematographers a nice look, with pleasing characteristics and a wide choice of magnifications, which can be used on either Super35 or Full Frame formats.”
The cinematic look provided by the lens family, which features a subtle and gradual focus fall-off and a consistently warm and soft bokeh, comes into its own when used for feature film and high-end episodic production. For example, directors of photography (DOP) Armin Franzen and David Higgs, BSC, relied on the ZEISS Supreme Prime lens family for the upcoming 3rd season of the Sky series “Das Boot”. Supreme Primes were also used to shoot the science fiction adventure “The Adam Project” (DP Tobias Schliessler, ASC) and the sequel “Knives Out 2” (DP Steve Yedlin, ASC) – both Netflix productions.
The Supreme Prime 15mm T1.8 may be ordered immediately with deliveries beginning in June. Further information is available at
www.zeiss.com/cine/supremeprime
The new Supreme Prime 15mm T1.8 can be tested at the BSC Expo in London (April 7 – 9), Micro Salon AFC in Paris (April 13 – 14), and at the NAB Show in Las Vegas (April 23 – 27).
For more information contact susan@lewiscommunications.net or visit www.aboutthegear.com
March 31, 2022
Grass Valley, CA (March 31, 2022) – AJA Video Systems today released v4.0 firmware for its Ki Pro GO multi-channel H.264 recorder, delivering enhanced playback and control functionality to give users more flexibility in the field. This free update introduces third-party file playback support alongside a host of new settings improvements that help ensure more seamless setup and operation across production, post, and proAV environments.
Ki Pro GO v4.0 feature highlights include:
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Intuitive playback of .mp4 files originating from supported third-party applications, including Adobe Premiere Pro, Apple Final Cut Pro, Avid Media Composer and Blackmagic Design DaVinci Resolve
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Ability to set each device to generate 0, 1, 2, 3 or 4 B-frames individually on each channel for smaller file sizes
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New alarm functionality that makes it easy to clear outdated alerts after errors are corrected
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Updated REST API that enables remote device shut-off
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“Modern production and proAV environments demand flexibility in the field, especially when recording multiple simultaneous HD and SD video feeds, and we designed Ki Pro GO with this in mind. Ki Pro GO users have expressed a desire to play out H.264 files generated within their NLE applications on Ki Pro GO, which this update enables. Ki Pro GO v4.0 firmware is an extension of our work and continued commitment to helping professionals get the most out of their gear,” shared AJA President Nick Rashby.
About Ki Pro GO
Ki Pro GO is a portable multi-channel H.264 recorder offering up to 4-channels of simultaneous HD and SD recording to off the shelf USB drives with redundant recording capabilities. Designed to be either portable or rack mountable with half rack wide, 2RU high dimensions, Ki Pro GO is well suited for use in any environment. www.aja.com/products/ki-pro-go
About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
All trademarks and copyrights referenced herein belong to their respective companies.
March 29, 2022
OWC Introduces Flex 1U4 4-Bay Thunderbolt Rackmount Storage and Docking Solution
Go beyond the desktop with the most flexible storage and docking solution for any rackmount environment with the capabilities to use SATA/SAS and U.2/M.2 NVMe drives for up to 128TB of capacity and real-world Thunderbolt speeds up to 2750MB/s
OWC®,the premier zero-emissions Mac and PC technology company,and a respected provider of Memory, External Drives, SSDs, Mac & PC Docking Solutions,Network Attached Storage, and Performance Upgrade Kits, announces the OWC Flex 1U4 4-Bay Thunderbolt rackmount storage and docking Solution. The OWC Flex 1U4 is a highly flexible professional-grade 4-bay Thunderbolt storage and docking solution for gaining powerful new rackmount workflow possibilities. Use a mix of 2.5 or 3.5-inch SATA/SAS and U.2/M.2 NVMe drives in the hot swappable drive bays. Connect gear and charge mobile devices with Thunderbolt and USB ports. Add an audio/video capture, 10Gb Ethernet networking, SSD storage, hardware RAID card, or I/O card to the PCIe slot.
Since the launch of the OWC ThunderBay desktop storage line in 2014, computer users across the planet have continued to fall in love with it. They embrace its massively powerful RAID capacity and intense performance fueled by time-tested OWC reliability. Its appeal skyrocketed when it was infused with industry-first FLEXibility to create ThunderBay Flex 8.
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Now businesses, institutions, studios, and creatives can go beyond the desktop with the OWC Flex 1U4. This innovative 4-bay rackmount solution is ready to fuel your endeavors with the best combination of storage capacity, Thunderbolt transfer performance, drive flexibility, and device expandability. With FLEX in its name, you can count on the OWC Flex 1U4 to be your rackmount workflow game-changer.
Future Ready
The OWC Flex 1U4 extends its useful life and maximizes your investment well into the future by not locking you into an inflexible single-task design. When your workflow needs change, the “FLEXpandability” of the OWC Flex 1U4 easily adapts. Add new drives, connect different devices, and install a PCIe card of your choice, like a 10Gb Ethernet networking card or the blistering fast OWC Accelsior 4M2 SSD for expanded performance storage capacity.
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Ideal for All Rackmount Environments
The OWC Flex 1U4 is like a bolt-in productivity supercharger for new or existing rack environments powered by a rack Mac Pro, rack PC, MacBook Pro, PC notebook, or even a Mac mini. Whether you build your custom drive and card configuration or select one of our convenient ready-to-run solutions, the OWC Flex 1U4 is ideal in a wide variety of settings:
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In-School: perfect for taming ever-growing collections of digital files with easy integration and future drive capacity and performance scalability.
At Work: add Thunderbolt speed and swappable drives to server closets, server rooms, or colocation center backup capabilities.
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On Stage: handle all the storage and peripheral connectivity needs “front of house” pros require for live performances.
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On Set: easily fits into mobile DIT carts to capture multi-stream, hi-res footage at full framerate while daisy-chaining up to five additional Thunderbolt devices.
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In Studio: expand storage and connectivity options of fixed racks.
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At Home: great for installers creating a high-performance home entertainment server closet.
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Built For U.2
A hallmark of OWC FLEX technology is the ability to use U.2 NVMe SSDs and the OWC ecosystem of U.2 drives and adapters. U.2 NVMe drives are specifically designed to maximize the PCIe bus, and when combined with Thunderbolt, you’ll blast past fast with up to 2750MB/s real-world transfer speed. Whether you use your rackmount setup for complete massive backups, streaming content during a live performance, editing large format video, or running high transactional and complex calculation applications, you can use U.2 drives with the OWC Flex 1U4.
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A Complete Swap and Share Ecosystem
The OWC Flex 1U4 goes with the flow when moving data outside or beyond the local network. With the OWC U.2 ecosystem, moving and sharing data is fast and easy. Swap out and ship a project from field to post in video production workflows. Move back up data to an offline colocation for backup workflows. The combination of OWC Flex 1U4 and the OWC U.2 ecosystem opens a new dimension to data transfer possibilities.
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OWC U2 ShuttleOne: Convert an NVMe M.2 “blade” style SSD into a swappable 2.5-inch U.2 SSD with the peace of mind that your drive – and its content - are protected by the full metal, heat-dissipating adapter.
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OWC U2 Shuttle: Combine four NVMe M.2 SSDs into the world’s first 3.5-inch U.2 carrier shuttle to create a swappable, massive capacity RAID solution.
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OWC Helios 3S with Interchange System: Create an external Thunderbolt powered set to post U.2 solution that safeguards your data while lowering shipping costs.
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OWC Mercury Pro U.2 Dual: Put blazing-fast Thunderbolt-powered storage and backup on a desktop with a compact two-bay footprint that can use U2 ShuttleOne and U2 Shuttles.
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OWC ThunderBay Flex 8: Take control of your media workflow with the world’s first 3-in-1 Thunderbolt storage, docking, and PCIe expansion desktop solution. Easily swaps U2 ShuttleOne and U2 Shuttles to/from the Flex 1U4.
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RAID Made Easy
Harness the full capability of your OWC Flex 1U4 drive array with the included SoftRAID XT, the most powerful, intuitive RAID management software on the market for macOS and Windows. SoftRAID’s RAID creation and management technology have been finely tuned to perfection with over 20 years of development to provide rock-solid protection of your data and optimize drive performance. It is packed with features like multiple RAID options, validation and verification of drives, and predictive disk failure with SoftRAID Monitor. SoftRAID provides a level of storage performance that you can’t get with hardware RAID and is ideal for anyone who needs to store safely and massive backup amounts of data, including educational institutions, government agencies, businesses, content creators, and M&E professionals. If you need even more power and flexibility, you can upgrade to SoftRAID Pro to spread volumes over two or more disk enclosures – impossible with hardware RAID - for incredible performance.
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OWC Flex 1U4 Highlights
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Drive diversity: Use SATA/SAS2 and U.2/M.23 NVMe drives for up to 128TB1 of capacity and real-world Thunderbolt speeds up to 2750MB/s
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Drive flexibility: swap drives quickly and easily if/when needed
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Future ready: use U.2 SSDs – an emerging storage standard - in all four bays
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Get Maximum: utilize U.2 NVMe SSDs as well as the OWC ecosystem of U.2 drives and adapters for incredible speed and flash density per bay
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Powerfully easy RAID: create, manage, and monitor advanced RAID sets with OWC SoftRAID
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Use it all: connect keyboards, mixers, cameras, displays, and mobile devices such as tablets with (2) USB-C 10Gb/s and (3) USB-A 10Gb/s ports
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See more: connect up to an 8K display to the DisplayPort 1.4 port4
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Charge: keep your notebook powered with 85W via the upstream Thunderbolt port5
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Do more: add an audio/video capture, 10Gb Ethernet networking, SSD storage, hardware RAID, or I/O card to the PCIe slot.
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Configurable: daisy chain up to five devices or add an additional display with the second Thunderbolt (USB-C) port
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Worry-free: Up to 5 Year OWC Limited Warranty
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Pricing & Availability
The OWC Flex 1U4 is available now on Macsales.com with solutions starting at $1,899.00.
March 23, 2022
This is the full version of the Digital Cinema Society's format agnostic exploration of Large Sensor Cinematography. We look at the benefits, aesthetic and technical differences, as well as the challenges of shooting larger format sensors as compared to S35. It features interviews with renowned Cinematographers and industry experts along with behind-the-scenes coverage and sample footage. Listed in order of appearance are:
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Julio Macat, ASC
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Tobias Schliessler, ASC
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Director Nigel Dick
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Nancy Schreiber, ASC
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ARRI's Art Adams
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Megan Donnelly from AbelCine
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ZEISS' Snehal Patel
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Matthew Duclos of Duclos Lenses
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Panavision's Aaron Kroger
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DIT Lewis Rothenberg
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Steve Yedlin, ASC
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Cinematographer Todd Bell
Watch this Documentary HERE!
This program is dedicated to the memory of Douglas Trumbull, the Godfather of Large Format Cinematography.
March 14, 2022
Commanding an audience’s attention is challenging in public settings, yet museums, art galleries, and event venues are breaking through the noise with technology-driven visual spectacles. Immersive art exhibits, as an example, have taken the world by storm in the last year, as droves of people have signed up to see the works of legendary artists come to life via video projection. These breathtaking installations, however, require creativity, forethought, and an arsenal of technology on the backend, which the experts at Realtime Environment Systems (RES) specialize in. Based out of London, the creative and technology services company delivers stunning video and projection mapping for museum, concert, and live event projects, for which it regularly depends on AJA KONA video I/O cards for 4K and 8K playout.
RES’ project portfolio is diverse, with its work currently on display at the National Museum of Qatar, and its creative stamp on previous spectacles for the 2020 Japan Games torch relay, Coldplay World Tour and Eric Prydz HOLOSPHERE show, among other events. In translating client visions to realities, RES Founders Dave Green, Trey Harrison, and Mark Calvert found themselves using a similar set of tools for video playback, and saw an opportunity to commercialize their work. Out of this realization, they launched HIVE in March 2022. The new technology company develops cost-efficient, portable media control solutions for driving projection and LED displays in AV environments.
To date, HIVE offers four different media players, including PLAYER_3 and PLAYER_4, which support 4K and 8K playback and include an AJA KONA 4 card and an AJA KONA 5 card respectively. Commenting on the design, Founder and Technical Lead Dave Green shared, “I’ve been using KONA cards for more than a decade now because they provide consistent high quality video playback, even for the most complex installations. Integrating them into our new media player boxes just made sense. Both KONA 4 and KONA 5 offer remarkable performance for 4K and 8K playback at an affordable price point, which will be crucial as the AV industry continues to move more toward 4K and 8K content, especially for large scale installations, in which higher resolutions deliver that WOW factor.”
In addition to supporting 4K and 8K video via built-in KONA 4 and KONA 5 cards, HIVE’s PLAYER_3 and PLAYER_4 products also include an NVIDIA GPU. Systems integrators and venue teams simply connect the media player box to their display technology, and log into HIVE’s web-based application. An intuitive interface then allows users to upload video files for playout directly from a phone, tablet, or computer, and set up and/or edit the playlist or timecode cue list directly from the app. Green concluded, “As the visual bar for video installations continues to grow, keeping media control workflows and costs in check has become in many ways unmanageable, which is where HIVE is providing respite. Our media players eliminate the need for massive racks of expensive, complex hardware setups, and AJA KONA is a key enabler, packing a big punch with a small footprint.”
About AJA KONA Cards
AJA KONA cards support the broadest range of creative software for editorial, color, mastering, HDR, dailies, live streaming, graphics, game capture and much more. They provide powerful I/O solutions for the most demanding tasks from 8K to 4K, multi-channel HD, HDR, and streaming. KONA has incredibly wide application compatibility. Out-of-the-box, KONA hardware and software supports Adobe Premiere Pro, Apple Final Cut Pro, Avid Media Composer, OBS Studio, vMix, Telestream Wirecast, and many more, via AJA’s Desktop software drivers and application plug-ins. www.aja.com/family/desktop-io
About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
March 14, 2022
Checco Varese, ASC on set of Dopesick with Steadicam Operator:Joseph Arena, SOC
Bringing a harrowing real-life story to the screen demands the lightest possible touch of Hollywood’s usual hyperreality. Hulu's Dopesick, based on Beth Macy’s book, tackles the background to America’s opioid addiction crisis, and must walk that fine line between informing and entertaining its audience. Cinematographer Checco Varese, ASC, used ZEISS Supreme Prime, Cinema Zoom and Supreme Prime Radiance lenses with the large-format Sony Venice in its 6K large format mode to bring a careful balance of style and substance to all eight episodes.
That balance is reflected in Varese's own history, which includes not only crowd-pleasing features such as It: Chapter Two but also the grimmer circumstances of the real world. "I was a war correspondent for fourteen years," he begins, "so, every time I see the world, I ask myself the same questions. Why is this character doing this, and without judging, how do I explain why? In this case it was even more critical because we had to be accurate."
At the same time, Varese goes on, Dopesick is "not a documentary, not a newscast. It needed to be away from the realism of a documentary, but it's about real people and it needed to be done in a very realistic way, without gimmicks that would take the audience out of it. That's why the choice of lenses was so important. What the Supreme Primes do is to transmit reality – through the glass, to the sensor, then to the television. There are other lenses, lenses that are vintage, that add distortion... we tested several other lenses and I thought the Supremes would give the show a unique pristine, non-affected look."
Alongside showrunner Danny Strong and Barry Levinson, who directed several episodes, Varese designed his approach around three groups of characters in "three circles. There's the world of the victims which is one, the second circle is the civil servants, the prosecutors, the DEA and the lawyers who are finding out what's happening, and there's the third circle of the pharmaceutical people. Those circles intersect, with OxyContin in the middle."
Select scenes in that first circle, featuring mineworkers risking addiction to painkillers, used Supreme Prime Radiance lenses to represent the effects of addiction. "They have a particular blue-green sort of cold flare," Varese says. "Dopesick is about the opioid epidemic and there are some characters that become heavily affected by OxyContin, and I felt that night exteriors benefitted from Radiance. They have these blue-green highlights that are very organic to the scene. Instead of being careful about flares, you embrace them. You're pointing the lens at sources of light... you lower the camera, so you see the streetlights, or you see the headlights of a car."
In the more controlled world of legal and enforcement people, Varese imagined "a world like the Michael Mann movie The Insider, which has these extreme close-ups with out of focus in the background, that Dante [Spinotti] did." Here, Varese refers to a conversation with digital imaging technician Daniele Colombera, whose thoughts influenced Varese's choice of large format. "He said 'the large format will give you the shallow depth of field, with the out of focus background, that will allow you to concentrate on the drama of this particular person, as opposed to getting lost in the environment.' I said, ‘Great’."
Varese defines his third circle, depicting the wealthy decisionmakers behind the pharmaceutical company, as being influenced by Kubrick's Eyes Wide Shut. "It's the wrong subject matter," he says, "but it suggests this golden, rich undertone of the pharma companies." Here, Varese leveraged the shallow depth of field to create "a disconnection from reality, with twinkling lights and the rich people."
The 94 days of principal photography relied mainly on ZEISS Supreme Primes and all three Cinema Zooms, including the 15-30mm, 28-80mm and 70-200mm lenses. "The zooms are wonderful," Varese recalls. "They match the primes... and they gave us the ability to change the focal length very quickly, because it's a very dramatic scene and you don't want the actors waiting the thirty seconds it takes." Unusually, the production uses on-camera zooms, "a very seventies thing," as Varese puts it. "Like The French Connection. It was done very gently – a little more on episodes three and four because the story starts to get more intense, the characters get out of control, and we see the drug addiction and the dealers. It was very subtle element in the narrative."
Combining three different ranges – Supreme Primes, Radiance and Cinema Zoom lenses – on one production might raise concerns over hard-to-handle variation in the image, but Varese reports no such concerns. "That's the beauty of the ZEISS architecture. I had two sets of Supremes and I ordered half a set more because I had a third camera that was doing pickups. We ordered them, made sure they're fine after traveling from California to Richmond, Virginia, and they're absolutely seamless. Not even with the Radiance did we have to do something different in grading - they're different, but that's their purpose."
The success of Sony Venice and ZEISS Supreme Primes is one Varese is keen to repeat. "I think my next project is going to be Sony Venice and ZEISS. Those two work together very well. It's a very organic combination." And in the end, that helped Dopesick achieve its finely balanced cinematic reality. "I didn't want to make it about the cinematography. I wanted to make it about the characters."
For the ZEISS Q&A with Checco Varese ASC visit:
https://lenspire.zeiss.com/cine/en/article/dopesick
Dopesick is currently streaming on Hulu https://www.hulu.com/series/dopesick-227de06a-d3d4-42e0-9df1-bb5495e1738d
About ZEISS
ZEISS is an internationally leading technology enterprise operating in the fields of optics and optoelectronics. In the previous fiscal year, the ZEISS Group generated annual revenue totaling 6.3 billion euros in its four segments Semiconductor Manufacturing Technology, Industrial Quality & Research, Medical Technology and Consumer Markets (status: 30 September 2020).
For its customers, ZEISS develops, produces and distributes highly innovative solutions for industrial metrology and quality assurance, microscopy solutions for the life sciences and materials research, and medical technology solutions for diagnostics and treatment in ophthalmology and microsurgery. The name ZEISS is also synonymous with the world's leading lithography optics, which are used by the chip industry to manufacture semiconductor components. There is global demand for trendsetting ZEISS brand products such as eyeglass lenses, camera lenses and binoculars.
With a portfolio aligned with future growth areas like digitalization, healthcare and Smart Production and a strong brand, ZEISS is shaping the future of technology and constantly advancing the world of optics and related fields with its solutions. The company's significant, sustainable investments in research and development lay the foundation for the success and continued expansion of ZEISS' technology and market leadership. ZEISS invests 13 percent of its revenue in research and development – this high level of expenditure has a long tradition at ZEISS and is also an investment in the future.
With over 32,000 employees, ZEISS is active globally in almost 50 countries with around 30 production sites, 60 sales and service companies and 27 research and development facilities. Founded in 1846 in Jena, the company is headquartered in Oberkochen, Germany. The Carl Zeiss Foundation, one of the largest foundations in Germany committed to the promotion of science, is the sole owner of the holding company, Carl Zeiss AG. Further information at www.zeiss.com
ZEISS Consumer Products
ZEISS Consumer Products combines the company's business with camera and cine lenses, binoculars, spotting scopes and hunting optics. The unit is allocated to the Consumer Markets segment and is represented at sites in Oberkochen and Wetzlar.
March 10, 2022
OWC Joins the Music Showcasing Innovative Connectivity and Storage Solutions at SXSW 2022
Tech leader will be part of the Official SXSW panel for MUSIC MATTERS! presented by Give A Note Foundation & Artist For Artist and full product showcase at The Jam in the Van Experience in Austin
OWC®, the premier zero-emissions Mac and PC technology company, and a respected provider of Memory, External Drives, SSDs, Mac & PC Docking Solutions, Network Attached Storage, and Performance Upgrade Kits, announces today announced it will participate in a panel for MUSIC MATTERS! Presented by Give A Note Foundation and Artist For Artist on Friday, March 18 at SXSW 2022. OWC will also be supporting Jam in the Van at SXSW 2022 as its sponsor. OWC will give daily prizes and showcase its latest products for film, media, and music creators on March 16-20.
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MUSIC MATTERS! presented by Give A Note Foundation & Artist For Artist
Give A Note Foundation is a 501(c)(3) that supports equitable opportunities in music education through tech and innovation. The two events will inform festival attendees why ‘MUSIC MATTERS!’ and raise funds for Give A Note’s work across the country. The Official SXSW Showcase is free and open to the public at the Outdoor Stage at Lady Bird Lake with Sammy Hagar & The Circle, The Warning, The Dumes and Jane N’ The Jungle. The Panel Discussion is for SXSW Badgeholders to enjoy in the Austin Convention Center on a limited first-come, first-serve basis.
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Official SXSW Panel @ Austin Convention Center (Room 12AB - ACC)
Friday, March 18
11:30 am – 12:30 pm
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Moderated by CNN’s Audrey Irvine, “Transforming Equity In Music For The Next Gen” panelists announced so far include Steve Molitz, Head of Music / Lead Composer, Saber Interactive (World War Z, Evil Dead: The Game, NBA 2K Playgrounds, SnowRunner), Melissa Salguero, GRAMMY Music Educator (Wings Academy NYC), Rick Van Dyne, Vice President, OWC (Other World Computing), and Dany Villarreal of The Warning who will discuss how technology is transforming and shaping the 21st-century classroom to inspire the next generation of music creators.
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For more information, check SXSW’s panel listings.
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Official SXSW Showcase @ Outdoor Stage at Lady Bird Lake
Friday, March 18
4 pm - 10 pm
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Both festival attendees and supporters at home can text MUSIC to 707070 or visit pledge.to/music to donate to Give A Note Foundation. For the latest event news, follow @GiveaNote and @afamgmt.
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Jam in the Van Experience Live Music, Comedy & More Benefiting the SIMS Foundation
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OWC puts the pedal to the metal with Jam in the Van, a solar-powered mobile recording studio and YouTube Channel, to provide bands with an opportunity to win an ultimate product package, which will include OWC’s latest tech offerings for music creators. Jam in the Van returns to Austin for five days of live music, comedy, and good times, benefitting the SIMS Foundation from March 16 – 20 at the Armadillo Den.
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At the sprawling South Austin hangout, Armadillo Den, the event will feature live performances at the Jam in the Van Stage and outdoor stage from noon to 10:30 pm, daily. Featuring a lineup of over forty bands and the culmination of JITV’s annual Battle of the Bands contest, the schedule includes Delta Spirit, Susto, The Wild Feathers, Stoplight Observations, BLACKSTARKIDS, The Suffers, and many more. The event is free and open to the public. Additionally, in the bar’s indoor stage upstairs, nightly comedy showcases featuring popular local and headlining acts will run until 2 am. Throughout the week, attendees can partake in raffles and drink and food specials that benefit SIMS.
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OWC will present award-winning external hard drive solutions, expansion products, docking and connectivity solutions. OWC products are designed to enable users to get the most from their technology. Whether in an office, studio, classroom or on the go. Allowing Jam in the Van attendees to experience first-hand the products made to keep their workflow connected and their creations secure.
For more information visit jaminthevan.com
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Armadillo Den - 10106 Menchaca Rd, Austin, TX 78748
March 16 – 20
12pm to 10:30pm
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About OWC
Other World Computing (OWC), founded in 1988, is dedicated to helping Mac and PC enthusiasts do more and reach higher. We believe in sustainability and OWC solutions are truly built to last, go the distance, and enable users to maximize the technology investment they have already made. OWC’s operation provides leadership in business sustainability, with our headquarters among the first in the world awarded LEED Platinum OWC features an award-winning technical support team as well as an unparalleled library of step-by-step DIY and informational videos. From the home desktop to the enterprise rack, the corporate backup to secure medical data, the recording studio to the motion picture set and beyond, there should be no compromise, and that is why OWC is here.
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About Jam in the Van
The solar-powered mobile recording studio and YouTube Channel that’s changing the way the world discovers new music. Launched in 2011 as a backyard project inspired by a love for music festivals, JITV has since turned into a full-blown business venture for Jake Cotler, Dave Bell, and Louis Peek. The company has filmed over 1,000 bands in remote locations across the United States. With new sessions, every day of the week M-F, Jam in the Van is the leading tastemaker for music discovery.
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About Give A Note
GIVE A NOTE Foundation 501(c)(3) provides support to nurture, grow and strengthen music education opportunities – every student, every school, every community. Founded in 2011 with an initial investment from 21st Century Fox and TV show GLEE, and in cooperation with valued partners, including CMA Foundation, Radio Disney, and National Association for Music Education, GIVE A NOTE has awarded grants in excess of $1.4 Million in support of music education. GAN’s annual Music Education Innovator Awards (MEIA) recognize teachers who have developed creative, effective in-classroom programs and provides ongoing support to encourage lasting change within a school or district. Ninety-five percent of MEIA grants serve students from underfunded metropolitan and rural K-12 public school districts where funding for music education is deficient. Nationally recognized by music educators as an organization that passionately champions their life’s work, GIVE A NOTE delivers opportunities for students to become their best selves through learning and creating music. #MusicEdMatters
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About Artist for Artist
ARTIST FOR ARTIST is a NYC-based, full-service talent management, label, special projects + events agency run BY artists FOR artists. Co-Founded by Matthew Reich and Neal Saini. www.artistforartist.com @afamgmt
March 2, 2022
Tony Wisniewski, ZEISS Senior Manager of Marketing & Snehal Patel, Head of Cinema Sales, Americas present the SXSW Cinematography Award on stage in 2020.
Los Angeles, California: The ZEISS Cinematography Team will be attending and supporting this year's South by Southwest Creative Industries Expo. Held at the Austin Convention Center March 13-16, ZEISS will participate in the southwest's renowned entertainment industry gathering, previewing new tech at their exhibit booth, presenting a panel discussion with SXSW film finalists, sponsorship of the ZEISS Cinematography Award, and hosting a let-your-hair down networking party at a local watering hole.
A recognized name in professional optics, ZEISS will display its hallmark line of motion picture lenses including Supreme Prime, Supreme Prime Radiance, Cinema Zoom lenses and more in Booth 433. Attendees will have the opportunity to pose questions about the award-winning glass which was used on several of the films screening at the conference. Visitors can talk one on one with the ZEISS Cinema team, including renowned lens experts Snehel Patel, Anna Schmidt and David Warner. A top authority on the growing field of lens metadata, Patel will discuss the current state of the art and hint at what's upcoming from ZEISS to enhance workflow from acquisition through post and effects work.
On Sunday afternoon at 4:00 pm attendees are invited to join Snehel Patel and select SXSW filmmakers for the annual ZEISS Talking Cinematography panel, live this year. Guest cinematographers and their selected films include: Greta Zozula for Soft & Quiet, Dustin Supencheck for Hypochondriac, Rachel Clark for Pirates, and more. Panelists will be ready to candidly discuss their SXSW official film selections in terms of their work process and how they realized their vision. Audience members are encouraged to join in with questions for the panelists. https://schedule.sxsw.com/2022/events/PP119328
Also on Sunday, ZEISS will host a networking gathering at Moonshine Grill just across from the Convention center. The casual venue is a welcome place for Platinum Sponsors, Film participants, and other members of the film community to meet and mingle before the evening's screenings.
A highlight of the week's events is the SXSW Film Awards ceremony which will feature the fourth annual ZEISS Cinematography Award, a Special Recognition of the best cinematography chosen from all films presented during the 2022 SXSW festival. Tony Wisniewski, ZEISS Senior Manager of Marketing said, "We are delighted to present the award to the winning filmmaker along with a $5000 cash prize as our way to encourage their future creativity and to inspire diverse voices to tell their stories with images."
About ZEISS
ZEISS is an internationally leading technology enterprise operating in the fields of optics and optoelectronics. In the previous fiscal year, the ZEISS Group generated annual revenue totaling 6.3 billion euros in its four segments Semiconductor Manufacturing Technology, Industrial Quality & Research, Medical Technology and Consumer Markets (status: 30 September 2020).
For its customers, ZEISS develops, produces and distributes highly innovative solutions for industrial metrology and quality assurance, microscopy solutions for the life sciences and materials research, and medical technology solutions for diagnostics and treatment in ophthalmology and microsurgery. The name ZEISS is also synonymous with the world's leading lithography optics, which are used by the chip industry to manufacture semiconductor components. There is global demand for trendsetting ZEISS brand products such as eyeglass lenses, camera lenses and binoculars.
With a portfolio aligned with future growth areas like digitalization, healthcare and Smart Production and a strong brand, ZEISS is shaping the future of technology and constantly advancing the world of optics and related fields with its solutions. The company's significant, sustainable investments in research and development lay the foundation for the success and continued expansion of ZEISS' technology and market leadership. ZEISS invests 13 percent of its revenue in research and development – this high level of expenditure has a long tradition at ZEISS and is also an investment in the future.
With over 32,000 employees, ZEISS is active globally in almost 50 countries with around 30 production sites, 60 sales and service companies and 27 research and development facilities. Founded in 1846 in Jena, the company is headquartered in Oberkochen, Germany. The Carl Zeiss Foundation, one of the largest foundations in Germany committed to the promotion of science, is the sole owner of the holding company, Carl Zeiss AG. Further information at www.zeiss.com
ZEISS Consumer Products
ZEISS Consumer Products combines the company's business with camera and cine lenses, binoculars, spotting scopes and hunting optics. The unit is allocated to the Consumer Markets segment and is represented at sites in Oberkochen and Wetzlar.
February 24, 2022
AJA FS-HDR Helps FOX Sports Deliver Cinematic Look for MLB “Field of Dreams” Broadcast
Achieving a post-produced look in live television is the ultimate goal, but demands the right combination of technology and engineering expertise, and a lot of experimentation as FOX uncovered during its “Field of Dreams” inspired MLB broadcast last summer. Brad Cheney, VP of Field Operations and Engineering at FOX Sports, helped spearhead the production, which fused live coverage of an MLB game between the Yankees and the White Sox, with pre-produced and live elements inspired by the film. The game was held in a custom-built stadium near the original “Field of Dreams” set in Dyersville, IA, and shot using a unique combination of cameras, with footage prepared in a range of delivery formats for distribution needs. To deliver a cohesive look with a cinematic feel for the production, the team used 60 AJA FS-HDRs for signal conversion, frame synchronization, and color correction in the field.
“Creating shallow depth of field looks requires specialized equipment, like cinematic cameras with large sensors and prime lenses. To recreate the color, warmth, and feel of the movie “Field of Dreams,” we leaned on those camera setups and our AJA gear,” shared Cheney. “Using FS-HDR, we were able to create that curve which strikes the right balance between broadcast and cinematic, and an ability to move between them seamlessly. Having such a robust color correction toolset built into our converter was paramount, considering we used 1080p and 4K SDR camera sets.”
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Preparations for the production began more than a year in advance, with the team using the MLB all-star game as a testbed. During this time, FOX’s postseason baseball group, video team, replay group, lead technical director, technology group, ENG crew, and drone professionals worked closely with equipment vendors to explore their options, ultimately landing on 1080p HDR, HLG wide color gamut BT.2020 as the single master production format. At the same time, they wanted to remain flexible for distribution partners requiring other delivery formats.
The team leveraged an amalgamation of cameras across the production comprising tried and true broadcast cameras as well as 12 cinema cameras. The lineup included a Sony Venice with PL mount lenses; Sony F55, 4300, 5500 and P50 cameras; and RED cameras, including the KOMODO, in addition to 1080p-capable POV cameras buried around the infield as well as drone cameras. However, incorporating different camera formats into one cohesive look required a myriad of conversion capabilities. Throughout the production the FS-HDR supported this need, with all of the cinema camera feeds run through them.
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“Starting with the highest image quality possible will always result in the best final product, and even though much of the audience tuned into the feed in SDR, we wanted to do as much as we could in HDR to elevate the viewing experience. AJA FS-HDRs helped make that possible,” Cheney added. “They allowed us to create that cinematic look we were going for with full range color correction.”
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Overall, the process required hours of R&D, with the team testing out different equipment settings and weighing its options. Regarding frame rate, in some situations 24p was a perfect fit, while it proved not right in others, in which case the team opted for 29.97p for many of our cameras. Then, FOX also had to account for other subtleties in the look based on the equipment.
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“Ultimately, our approach ensured we had the right conversion and settings in all the right places and gave us an appreciation for recent technological evolutions. It’s amazing that you can have an RF transmitter that can do 24, 25, 29, 50, 60 and 59.94, and the same thing is to be said for conversion gear like the FS-HDR that can do so many things at once,” explained Cheney. “With the FS-HDR, we can better control what the picture will look like, because we can quickly move between looks, line them up, and A/B them to get a clear picture of what’s going on. In the end, this was key, because the timeline was tight, and we had a set amount of time to make choices in a live environment. We made a lot of choices based on research leading up to the production that got us to a concept of where we wanted to be, and once the real-world lighting conditions showed up, we knew what we needed to do to get there.”
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The next test phase came once the team arrived in Iowa the week of the event. There, they determined the final approach to blend the look they’d established for the all-star game with that of the original set and film as well as real-time environmental conditions like natural lighting. They presented various options to production, and then made final equipment modifications and refined the workflow until they achieved their desired look. Cheney added, “Showing live action and replays with the same beautiful post-produced look that you’d expect from cinematic highlight shows in a live production setup was one of those beautiful television moments. It made the game feel bigger than life for all of us working on the project as well as the viewers.”
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Having successfully executed the project to rave fan reviews, Cheney and team are confident they now have the proper roadmap in place to deliver similar quality broadcasts in the future. He concluded, “We now know how to execute something like this quickly, so moving forward, we can easily provide this amazing depth of field and color to audiences in live broadcasts where it makes sense. From an industry standpoint, we’re on the cusp of being able to do all the things we want to in sports with high frame rate cameras and with a cinematic look, things that just weren’t achievable five or ten years ago. We’ve now reached a point where this technique can be applied to other productions on a full-time basis versus just as an added feature for select matches, and that will be a game changer for the live production world moving forward.”
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About AJA FS-HDR
FS-HDR is a versatile 1RU, rack-mount universal converter/frame synchronizer for real-time HDR transforms as well as 4K/HD up/down/cross conversions. Fusing AJA’s production-proven FS frame synchronization and conversion technology with video and color space processing algorithms from the award-winning Colorfront Engine, FS-HDR matches the real-time, low-latency processing and color fidelity demands that broadcast, OTT, post production and ProAV environments require. www.aja.com/products/fs-hdr.
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About AJA Video Systems
Since 1993, AJA Video Systems has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
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All trademarks and copyrights referenced herein belong to their respective companies.
February 8, 2022
AJA Advances Mini-Converter Line with Mini-Config v2.26.3
Free software update broadens AJA Mini-Converter functionality
Grass Valley, CA (February 8, 2022) – AJA Video Systems today released a free Mini-Config v2.26.3 software update, enhancing its popular Mini-Converter line with powerful new functionality for select models. The release boasts basic HDR metadata pass-through for Hi5-12G, Hi5-4K-Plus, HA5-12G, HA5-4K, 4K2HD, and 12GM; dual-link capabilities for 12GM; and Dolby audio support for Hi5-12G and Hi5-4K-Plus, among other enhancements.
AJA Mini-Config v2.26.3 highlights include:
-- Basic HDR metadata pass-through and optional override functionality for Hi5-12G, Hi5-4K-Plus, HA5-12G, HA5-4K, 4K2HD and 12GM, plus new HDMI HDR Infoframe generation for 4K2HD, simplifying HDR pipelines and offering more consistent results
-- Hi5-12G, HA5-12G, HA5-4K, and Hi5-4K Plus support for BT.2020 color space
-- An enhanced Mini-Config GUI to show HDR input and output status, and an HDR metadata override tab in Mini-Config
-- Dual-link capabilities for 12GM, including 2x1.5G, 2x3G, 2x6G for inputs and outputs, and HA5-4K, including 2x1.5G output
-- Dolby Digital and Dolby Digital Plus audio pass-through support for Hi5-12G and Hi5-4K Plus
-- Compatible with macOS and Windows
“As the demand for audio and video has increased dramatically in the last few years across a range of markets and new technologies have emerged, professionals across industries are leaning more heavily on conversion technology, whether for a newscast or live event, post production, virtual instruction, medical training, or a host of other applications,” shared AJA President Nick Rashby. “Our latest Mini-Config release brings AJA Mini-Converter customers new features that make this process much simpler and reflect customer feedback, while also extending the value of their investments, and we encourage all users to download it today.”
Pricing and Availability
AJA Mini-Config v2.26.3 is available today as a free download from AJA’s support page.
About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional, broadcast and post-production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
February 7, 2022
ZEISS Supreme Primes Work Day and Night for Plan B
Cinematographer Sandra Valde-Hansen on Large Format
Cinematographer Sandra Valde-Hansen (The L Word: Generation Q, Now Apocalypse, White Bird in a Blizzard, Kaboom) found herself capturing scenes in diverse weather and lighting for Natalie Morales' film Plan B. This road movie, now streaming on Hulu, follows a pair of teenaged friends during a day-and-night search for emergency contraception. To support the production design filled with rich night exteriors, Valde-Hansen chose ZEISS Supreme Primes to shoot large format at wide apertures on the Sony Venice camera.
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When the pandemic hit, production was forced to abandon their plan to photograph the story in snowy weather. "So, we embraced the warm tones of fall," Valde-Hansen says. "The golds, ambers, and reds. We discussed wanting to capture the visual intimacy of teen films made of the '70s, like Battle of the Sexes, in which Natalie was an actor, and Fast Times at Ridgemont High." But they were not going for retro, they wanted Plan B to have an overall clean and modern look to go with the contemporary story.
Anamorphic lenses, Valde-Hansen notes, might have been a natural choice for an approach rooted in decades past, "but one of the discussions I had with Natalie was based on recent testing with anamorphics for The L Word: Generation Q. For that show my co-DP, Moira Morel, and I had tested numerous anamorphic sets. We found that they weren't fast, really fell apart when shooting wide open, and concluded that the falloff in sharpness on the sides would not work for the show's aesthetic."
Valde-Hansen evaluated her options. "I thought, OK, what did we want out of an anamorphic? We wanted intimacy, natural perspective, natural magnification, and very shallow depth of field. We wanted to be able to see the world these girls live in, and to go out into that world, but we also wanted it to be very intimate. Once it was clear anamorphic presented challenges, I started looking into large format."
She had to pack her film tests into a weekend. "That's when I was able to test the 2500 ASA on the Sony Venice plus the T1.5 on the ZEISS Supreme Primes. I was absolutely blown away by the combination. The lenses were beautiful. They were very clean. I proposed to Natalie that the pros of anamorphic matched the pros of large format, while the cons of anamorphic were not present in large format. She was all for it."
Fall in Syracuse leads to early evenings and unreliable weather, issues Valde-Hansen encountered during a scene in a playground over the course of two nights. "It was cold, it rained, it snowed— our time was heavily truncated because of the weather. It was crazy, we had to light quickly—but the speed of the Supreme Primes helped us overcome some of the issues and keep on schedule."
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Equipment choices, Valde-Hansen says, proved critical. "Ultimately, it is an indie film so we couldn't just get big lights when we needed them, we had to be stay on budget." More importantly, she says director Natalie Morales wanted to avoid extensive lighting for night exteriors, preferring deep blacks that other lenses with poor contrast might have compromised. "She was OK with things falling into blackness. We strongly agreed that when it's night it should be night."
Valde-Hansen appreciated the authenticity that the Primes brought to sequences like this. "One thing about the Supremes that I absolutely love...they create such a naturalistic look without compromise to sharpness or contrast. This really allowed us to keep that naturalism throughout the film. All together, seeing how beautiful the Sony Venice is at 2500, and how clean the Supremes look at f/1.5, I knew I'd made the right decision."
With Plan B successfully concluded, Valde-Hansen moved onto to the second season of The L Word: Generation Q (streaming on Showtime) with the same camera/lens combination. "I've been working with the Venice and Supreme Primes for a year and a half now, and I'm really impressed. Using these lenses with amazing color rendition, great skin tones, nice fall off, no lens distortion, and consistency all the way through, is just wonderful."
Visit https://zeiss.ly/planB for the ZEISS Lenspire interview.
Photo Caption: For this road movie’s numerous tight car interior buddy-shots Sandra often opted for the Sony Rialto Camera Extension system with the Supreme Primes.
Photo Caption: Cinematographer Sandra Valde-Hansen
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About Sandra Valde-Hansen:
Hailing originally from Miami, Valde-Hansen considers herself a Spielberg baby. "I came from that generation where you watched all his movies— Empire of the Sun, ET, and on. I thought 'I want to do what that person does, I want to make movies.'" That ambition led to study at Florida State University and an MFA degree from the American Film Institute in Los Angeles. Respected for her visually masterful cinematography she works on both socially-conscious documentaries and story-driven narrative projects.
About ZEISS
ZEISS is an internationally leading technology enterprise operating in the fields of optics and optoelectronics. In the previous fiscal year, the ZEISS Group generated annual revenue totaling 6.3 billion euros in its four segments Semiconductor Manufacturing Technology, Industrial Quality & Research, Medical Technology and Consumer Markets (status: 30 September 2020).
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For its customers, ZEISS develops, produces and distributes highly innovative solutions for industrial metrology and quality assurance, microscopy solutions for the life sciences and materials research, and medical technology solutions for diagnostics and treatment in ophthalmology and microsurgery. The name ZEISS is also synonymous with the world's leading lithography optics, which are used by the chip industry to manufacture semiconductor components. There is global demand for trendsetting ZEISS brand products such as eyeglass lenses, camera lenses and binoculars.
With a portfolio aligned with future growth areas like digitalization, healthcare and Smart Production and a strong brand, ZEISS is shaping the future of technology and constantly advancing the world of optics and related fields with its solutions. The company's significant, sustainable investments in research and development lay the foundation for the success and continued expansion of ZEISS' technology and market leadership. ZEISS invests 13 percent of its revenue in research and development – this high level of expenditure has a long tradition at ZEISS and is also an investment in the future.
With over 32,000 employees, ZEISS is active globally in almost 50 countries with around 30 production sites, 60 sales and service companies and 27 research and development facilities. Founded in 1846 in Jena, the company is headquartered in Oberkochen, Germany. The Carl Zeiss Foundation, one of the largest foundations in Germany committed to the promotion of science, is the sole owner of the holding company, Carl Zeiss AG. Further information at www.zeiss.com.
ZEISS Consumer Products
ZEISS Consumer Products combines the company's business with camera and cine lenses, binoculars, spotting scopes and hunting optics. The unit is allocated to the Consumer Markets segment and is represented at sites in Oberkochen and Wetzlar.
February 3, 2022
AJA Introduces Desktop Software and SDK v16.2 with 12-Bit RGB Enhancements
Grass Valley, CA (February 3, 2022) -- AJA Video Systems today unveiled Desktop Software v16.2 for all KONA, Io, and T-TAP Pro products, in addition to AJA SDK v16.2 for Developer Partners. This feature-rich release introduces a wide range of workflow enhancements, including the latest macOS support; new OBS Studio compatibility; improved 12-bit, 444, RGB workflows for 4K/UltraHD; upgraded LUT functionality; new codec and special playback support in Control Room; and expanded multichannel audio. The release also underpins the launch of Io X3, the newest addition to AJA’s Io lineup of powerful Thunderbolt™ 3 connected mobile capture and output devices.
Desktop Software v16.2 is available today as a free download from the AJA website and includes support for macOS Monterey and Windows 11. Once Desktop Software is installed on a system running OBS Studio v27.2 or later, select AJA devices will be immediately available for multi- or single-channel capture and switching up to 4K/UltraHD 30p and 2K/HD 60p. OBS Project core contributor Colin Edwards shared, “With the release of the new AJA plugin for OBS Studio, users have even more choices for integrating OBS into professional broadcast workflows. This plugin sets a new standard for reliability and customization when working with broadcast hardware. AJA has set an example for other hardware manufactures by open-sourcing their SDK and driver source code. We would like to thank the AJA engineers who have worked with us to make this happen.”
Desktop Software v16.2 also enables greater flexibility and more accurate, vivid 4K/UltraHD color workflows, courtesy of new 12-bit, 4:4:4, RGB firmware for KONA 5 and Corvid 44 12G, with support for a full 12-bit pipeline across capture to color space conversion and output. This functionality is backed by an upgrade to the .cube format for all 12-bit and 10-bit LUT capabilities, bringing greater compatibility between AJA hardware and third-party color and mastering applications. Workflow options with included AJA Control Room software are expanded through the addition of H.264 and H.265 capture and playback up to 2K/HD 60p, including Timecode and Closed Captioning support, and further provide seamless compatibility with mobile devices, PCs, and AJA Ki Pro GO media. This release also includes new deep memory buffer capabilities for Control Room to maintain steady and pristine playback in the event that storage or network bottlenecks interrupt the flow of data from storage to the video output host. With the introduction of Io X3, a new MultiView feature allows up to four incoming SDI sources to be monitored on a single external HDMI monitor, providing a confidence view for multi-channel workflows with OBS Studio and Telestream Wirecast.
In addition to the traditional AJA Developer Program enrollment, AJA’s world-class SDK v16.2 is also now available via Open Source, offering multiple options for developers looking to incorporate powerful AJA technologies into product design and development. SDK v16.2 also introduces a host of new features, including 64/32 audio channel support with KONA 5, Corvid 44 12G, Corvid 88, and Corvid 44, enabling users to ingest and output up to 64 discrete audio channels across multiple SDI links, perfect for the latest 8K workflows that require 22.2 audio mastering.
Release highlights include:
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macOS Monterey and Windows 11 support
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Multi-channel support for OBS Studio (v2.27 onwards) at up to 4K/UltraHD 30p and 2K/HD 60p for KONA 5, KONA 4, KONA HDMI, Io 4K Plus, Io X3, and T-TAP Pro
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Enhanced 12-bit, 4:4:4, RGB 4K/UltraHD firmware for KONA 5 and Corvid 44 12G
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12-bit LUT support and .cube LUT compatibility enhancements for AJA Control Panel
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H.264 and H.265 capture and playback for AJA Control Room
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Deep memory buffers for sustained playback for AJA Control Room
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MultiView on HDMI output, offering display of multiple sources to one monitor, via SDK v16.2 and KONA 5
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Access to the core AJA SDK for the open source developer community
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64/32 channel audio support for KONA 5, Corvid 44 12G, Corvid 88, and Corvid 44
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“Desktop Software v16.2 is a huge update. Ensuring the highest-fidelity imagery with wider color depth, support for 12-bit color during post-production and monitoring and is critical for any production looking to achieve the desired look,” shared Nick Rashby, President, AJA Video Systems. “Desktop Software and SDK v16.2 expand support for 12-bit RGB across our production-proven KONA, Io, Corvid, T-TAP Pro, and the new Io X3, while also introducing new capabilities to streamline complex workflows. We’re also excited to open up the AJA SDK to input from global open source developers, whose contributions can foster new innovation and help drive the industry forward.”
Pricing and Availability
AJA Desktop Software v16.2 is now available as a free download from AJA’s support page, and AJA SDK v16.2 is accessible to participants of the AJA Developer Program as a free download from AJA’s Developer Partner site. The Open Source Developer community can access the AJA SDK from AJA’s GitHub page.
February 3, 2022
AJA Unveils Io X3 Thunderbolt™ 3 Video I/O Device
Portable and Rugged Professional I/O Solution Streamlines 2K/HD/SD HDR and SDR Capture and Output via 3G-SDI and HDMI
Grass Valley, CA (February 3, 2022) – AJA Video Systems has unveiled Io X3, a Thunderbolt™ 3-connected professional video and audio I/O device that offers HDR or SDR 2K/HD capture and output via 3G-SDI and HDMI. Compact, rugged, and portable, Io X3 streamlines high-quality HDR I/O up to 2K/HD 60p on compatible Thunderbolt™ 3-equipped Mac or PC hosts running professional video and audio applications.
Whether working remotely, on-set, or in a studio, Io X3 provides a powerful mobile solution for single-, dual-, and multi-channel SDI workflows, offering pristine 2K/HD/SD I/O with HDR directly from any modern laptop or computer. Lightning fast, flexible, and whisper-quiet, Io X3 is an ideal capture and output device for a range of production environments, including high-end color grading, audio mixing, on-set monitoring, or playback, and remote editorial and VFX. With four independent inputs for workflows with OBS and Wirecast, together with simultaneous MultiView monitoring for each source, Io X3 is also a perfect fit for streaming workflows.
Io X3 features eight switchable analog audio ports, allowing users to shift between eight channels in or out, or split connectivity between four inputs and four outputs, in addition to a 3.5 analog audio connection to plug in headphones directly. Up to 16-channel audio is included on each SDI port, and 8-channels on HDMI. Compact and rackmountable, Io X3 devices can easily be placed side by side in a rack for studio, mobile truck, or video assist needs, allowing users to benefit from up to eight channels of up to 2K/HD/SD I/O in a 1RU.
Io X3 feature highlights include:
-- Dual Thunderbolt™ 3 USB-C ports connect with modern Mac or PC laptops and desktop workstations and support daisy chain functionality
-- HDR support across SDI and HDMI ports
-- Four 3G-SDI bi-directional connections support single-, dual-, or multi-link workflows up to 2K/HD p60 YCbCr 10-bit or p30 RGB 12-bit
-- HDMI 1.4b I/O up to 2K/HD p60 YCbCr 10-bit or p30 RGB 12-bit I/O; HDR via 2.0 spec implementation
-- MultiViewer functionality for displaying up to four inputs for streaming workflows on a single HDMI reference monitor
-- The latest macOS Monterey and Windows 11 support and compatibility across both Apple M1 chip or Intel based systems
-- Optional rackmount kit for efficient rack mounting of two devices side by side, enabling up to eight channels of HD I/O in 1RU
-- Eight-channel analog audio I/O via DB25 connection
-- Analog audio ports are switchable between input and output, enabling users to swap between eight channels in or out, or split connectivity between four inputs and four outputs
-- Up to 16-channels of embedded audio on each SDI port, and up to 8-channels on HDMI
-- 3.5mm stereo analog audio connection for headphones
-- Dedicated reference, TLC input, and LTC output connections
-- RS-422 control port for tape-based workflows
-- Runs quiet for critical monitoring environments where silence is required
-- Includes proven AJA drivers and software plug-ins, with support for Apple Final Cut Pro, Adobe Creative Cloud, Avid Media Composer, Telestream Wirecast, OBS, and many others
-- Three-year AJA warranty and industry-leading technical support
"Today’s production environments demand increased content volume with fast turnaround, and the predominance of HD-centric workflows require flexible tools to support timely delivery of that material,” shared Nick Rashby, President, AJA Video Systems. “Io X3 simplifies complexities of video and audio workflows by providing teams with an affordable and high-quality solution for Thunderbolt™ 3-connected I/O on SDI and HDMI or multichannel I/O over SDI, helping video professionals at home, on site or in studio work more efficiently and with greater ease.”
Pricing and Availability
Io X3 is now available for $1,599 US MSRP through AJA’s worldwide reseller network. For more information, visit: https://www.aja.com/products/io-x3.
January 26, 2022
Grass Valley, CA (February 3, 2022) – AJA Video Systems has unveiled Io X3, a Thunderbolt™ 3-connected professional video and audio I/O device that offers HDR or SDR 2K/HD capture and output via 3G-SDI and HDMI. Compact, rugged, and portable, Io X3 streamlines high-quality HDR I/O up to 2K/HD 60p on compatible Thunderbolt™ 3-equipped Mac or PC hosts running professional video and audio applications.
Whether working remotely, on-set, or in a studio, Io X3 provides a powerful mobile solution for single-, dual-, and multi-channel SDI workflows, offering pristine 2K/HD/SD I/O with HDR directly from any modern laptop or computer. Lightning fast, flexible, and whisper-quiet, Io X3 is an ideal capture and output device for a range of production environments, including high-end color grading, audio mixing, on-set monitoring, or playback, and remote editorial and VFX. With four independent inputs for workflows with OBS and Wirecast, together with simultaneous MultiView monitoring for each source, Io X3 is also a perfect fit for streaming workflows.
Io X3 features eight switchable analog audio ports, allowing users to shift between eight channels in or out, or split connectivity between four inputs and four outputs, in addition to a 3.5 analog audio connection to plug in headphones directly. Up to 16-channel audio is included on each SDI port, and 8-channels on HDMI. Compact and rackmountable, Io X3 devices can easily be placed side by side in a rack for studio, mobile truck, or video assist needs, allowing users to benefit from up to eight channels of up to 2K/HD/SD I/O in a 1RU.
Io X3 feature highlights include:
-- Dual Thunderbolt™ 3 USB-C ports connect with modern Mac or PC laptops and desktop workstations and support daisy chain functionality
-- HDR support across SDI and HDMI ports
-- Four 3G-SDI bi-directional connections support single-, dual-, or multi-link workflows up to 2K/HD p60 YCbCr 10-bit or p30 RGB 12-bit
-- HDMI 1.4b I/O up to 2K/HD p60 YCbCr 10-bit or p30 RGB 12-bit I/O; HDR via 2.0 spec implementation
-- MultiViewer functionality for displaying up to four inputs for streaming workflows on a single HDMI reference monitor
-- The latest macOS Monterey and Windows 11 support and compatibility across both Apple M1 chip or Intel based systems
-- Optional rackmount kit for efficient rack mounting of two devices side by side, enabling up to eight channels of HD I/O in 1RU
-- Eight-channel analog audio I/O via DB25 connection
-- Analog audio ports are switchable between input and output, enabling users to swap between eight channels in or out, or split connectivity between four inputs and four outputs
-- Up to 16-channels of embedded audio on each SDI port, and up to 8-channels on HDMI
-- 3.5mm stereo analog audio connection for headphones
-- Dedicated reference, TLC input, and LTC output connections
-- RS-422 control port for tape-based workflows
-- Runs quiet for critical monitoring environments where silence is required
-- Includes proven AJA drivers and software plug-ins, with support for Apple Final Cut Pro, Adobe Creative Cloud, Avid Media Composer, Telestream Wirecast, OBS, and many others
-- Three-year AJA warranty and industry-leading technical support
"Today’s production environments demand increased content volume with fast turnaround, and the predominance of HD-centric workflows require flexible tools to support timely delivery of that material,” shared Nick Rashby, President, AJA Video Systems. “Io X3 simplifies complexities of video and audio workflows by providing teams with an affordable and high-quality solution for Thunderbolt™ 3-connected I/O on SDI and HDMI or multichannel I/O over SDI, helping video professionals at home, on site or in studio work more efficiently and with greater ease.”
Pricing and Availability
Io X3 is now available for $1,599 US MSRP through AJA’s worldwide reseller network. For more information, visit: https://www.aja.com/products/io-x3.
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Woodstock, IL – January 26, 2021 – OWC®, the premier zero-emissions Mac and PC technology company, and a respected provider of Memory, External Drives, SSDs, Mac & PC Docking Solutions, Network Attached Storage, and Performance Upgrade Kits, announces winning the TechRadar Pro Picks Award for the OWC Atlas Series Media Cards and Readers.
TechRadar Pro announced the winners of this year’s Picks Awards, the brands’ annual program honoring the best and most influential consumer technology that was at CES 2022 or introduced in 2021. The staff selected winners based on their expected impact on the Consumer Electronics and Retail industries.
OWC flash storage solutions are run through intensive performance testing so creative professionals can depend on real-world speeds in their workflows. Truthfully listing Atlas S Pro cards for reliable performance up to 276MB/s write and 290MB/s read speeds defines our commitment to the “OWC Difference,” which ensures you’ll be completely satisfied these SD UHS-II V90 cards will deliver the performance you are counting on.
OWC Atlas Pro™ and Atlas Pro™ Ultra
The OWC Atlas Pro and Atlas Pro™ Ultra CFexpress Type B memory cards are rugged and OWC Beyond Fast™. They’re ideal for professional photographers, videographers, and content creators who need to capture every crucial moment at confidently one-time events like sports, weddings, and concerts.
Sized similarly to a debit card, the OWC Atlas FXR is the smallest Thunderbolt CFexpress card reader. It allows you to transfer video footage and photos on location, studio, or the edit suite to virtually any Thunderbolt or USB port-equipped computer or tablet at over 1500MB/s speed. Nearly 7x smaller than other Thunderbolt CFX readers, bus-powered Atlas FXR easily fits into the smallest camera bag, so you can pack more accessories to help capture amazing content.
You can purchase the Atlas S Pro media cards in 32GB, 64GB, 128GB, and 256GB capacities, starting at $49. As for the OWC Atlas Pro CFexpress, you can purchase it in 2022in 256GB, 512GB, 1TB, and 2TB capacities in early Q2 this year. The OWC Atlas Pro Ultra CFexpress will also release in early Q2 2022 in 320GB and 640GB capacities. Lastly, the OWC Atlas FXR will release in early 2022. OWC will announce the pricing later.
“We are honored to have our Atlas Series Media Cards & readers recognized with the TechRadar Pro Picks Award at CES 2022,” said Larry O’Connor, CEO and Founder of OWC. “We believe we have an incredibly talented team at OWC and are devoted to developing the fastest and most innovative products for consumer and professional markets. To receive this recognition is a win for the entire team. We are truly grateful to TechRadar Pro for this acknowledgment.”
January 20, 2022
ZEISS will kick off their 2022 virtual Film Festival Week on Friday, January 21 with an in-depth roundtable featuring six cinematographers—each with a project screening at the Park City festival. Guest cinematographers and their selected films include: Melinda James, Work; Charlotte Hornsby, Master; Alex Disenhof, ASC, Alice; Andrew Wheeler, God's Country; Jordan Parrott, Chaperone, and Wyatt Garfield, Resurrection.
Moderator Snehal Patel will talk to the filmmakers about their selected films' including workflow, creative choices and more, followed by a lively Q&A with the audience. The free event will be held at 12 pm PST/3 pm EST.
ZEISS Film Festival Week continues Tuesday, January 25 (12 pm PST/3 pm EST) with featured guest cinematographer, Matthew Chuang, ACS. The artist's captivating immersion into the horror genre with You Won’t Be Alone, (Focus Pictures) will make its world-premiere at Sundance 2022. Known for exquisitely crafted features, music videos and award-winning commercials, Chaung will cover creative choices and technical solutions for the new entry as well as previous works including The Babadook and The Nightingale. Also on the agenda is his collaboration with director Allen Hughes on the five-part FX Network and Disney documentary series Outlaw: The Saga of Afeni and Tupac Shakur, scheduled for spring release.
Tony Wisniewski, ZEISS Senior Manager of Marketing, adds "Although most years we are on the ground in full support of the Park City worldwide event, we are enthusiastic about this year's Film Festival Week. Now the audience can enjoy virtual festival closeups with cinematographers who speak candidly about their projects which are honored official selections of the Park City festival."
ZEISS Film Festival Week is free of charge. To register for the January 21 Cinematographers Roundtable visit
https://zeiss.zoom.us/webinar/register/WN_ilXLXNxmRSKxMGp9scwj3w
To register for the Matthew Chaung event visit
https://zeiss.zoom.us/webinar/register/WN_OWBRShbuQcCIdsfVJpC9Qw
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About ZEISS
ZEISS is an internationally leading technology enterprise operating in the fields of optics and optoelectronics. In the previous fiscal year, the ZEISS Group generated annual revenue totaling 6.3 billion euros in its four segments Semiconductor Manufacturing Technology, Industrial Quality & Research, Medical Technology and Consumer Markets (status: 30 September 2020).
For its customers, ZEISS develops, produces and distributes highly innovative solutions for industrial metrology and quality assurance, microscopy solutions for the life sciences and materials research, and medical technology solutions for diagnostics and treatment in ophthalmology and microsurgery. The name ZEISS is also synonymous with the world's leading lithography optics, which are used by the chip industry to manufacture semiconductor components. There is global demand for trendsetting ZEISS brand products such as eyeglass lenses, camera lenses and binoculars.
With a portfolio aligned with future growth areas like digitalization, healthcare and Smart Production and a strong brand, ZEISS is shaping the future of technology and constantly advancing the world of optics and related fields with its solutions. The company's significant, sustainable investments in research and development lay the foundation for the success and continued expansion of ZEISS' technology and market leadership. ZEISS invests 13 percent of its revenue in research and development – this high level of expenditure has a long tradition at ZEISS and is also an investment in the future.
With over 32,000 employees, ZEISS is active globally in almost 50 countries with around 30 production sites, 60 sales and service companies and 27 research and development facilities. Founded in 1846 in Jena, the company is headquartered in Oberkochen, Germany. The Carl Zeiss Foundation, one of the largest foundations in Germany committed to the promotion of science, is the sole owner of the holding company, Carl Zeiss AG. Further information at www.zeiss.com.
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ZEISS Consumer Products
ZEISS Consumer Products combines the company's business with camera and cine lenses, binoculars, spotting scopes and hunting optics. The unit is allocated to the Consumer Markets segment and is represented at sites in Oberkochen and Wetzlar.
January 11, 2022
Cinematographer Philip Grossman Uplevels Video Conferencing Quality with AJA U-TAP
From Microsoft Teams to Zoom, the use of video conferencing platforms has seen unprecedented growth in the last two years, with more in-person meetings abandoned in favor of virtual ones. This shift has impacted nearly every industry, including media and entertainment (M&E). It’s also challenged creatives like Adventure Cinematographer Philip Grossman to rethink their approaches to production planning, collaboration, and content review. Equal parts media industry stalwart, TV technology and film specialist, explorer, and educator, Grossman refused to compromise video quality in this new norm and opted to ditch his traditional webcam. Instead, he harnessed his video expertise to create an economical, top-notch setup that supports nearly any video conferencing platform. It comprises a RED digital cinema camera, AJA U-TAP SDI (a USB 3.0 3G-SDI capture device), plus a recorder, lighting, and a practical backdrop.
“Given all the changes in the M&E industry over the last two years, there’s now a bit of an unwritten rule in terms of your video conferencing quality. Just as an attorney wouldn’t walk into a courtroom in sweatpants, you can’t join a video meeting with a low-quality video feed,” shared Grossman. “U-TAP has been great in this respect; it allows me to use the gear I use every day for cinematography jobs to pull off a high-quality HD feed easily and at a low cost. Since the start of the pandemic, it’s become an essential piece of kit.”
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For most video conferences, Grossman uses a RED DIGITAL Cinema DSMC2 with HELIUM (8K) to capture himself on-camera. The feed is then output to the U-TAP SDI and into his MacBook Pro, plus pass through into a recorder. For live switching content or working with multiple feeds, he’ll reverse the steps. Camera outputs are run through his recorder, live switched, and the switched feed is then output to U-TAP for webcasting from a laptop or desktop.
Grossman harnesses the workflow to support video conferencing needs wherever he goes, including a recent urban exploration trek overseas, which included stops in Hungary, Albania, Croatia, Herzegovina, Montenegro, and Northern/Southern Italy. In the past, he’s also spent time in Chernobyl, as well as barren parts of the former Soviet Union, tracking down abandoned science/engineering-related sites. “A lot of what I try to do is document history and share it with the world,” he said. “Travel and exploration are a passion, but I also love how my job allows me to collaborate with a bunch of different hardware and software manufacturers, and in turn help influence technological evolution.”
Grossman carefully sources every tool he uses in the field. In addition to his video conferencing gear, he also carries a GoPro 10 with him on every adventure, with all his gear fitting nicely in a travel backpack. “You have to find the tools that best suit your needs, and for me, that translates to functionality, durability, and ergonomics. I went with U-TAP, in part, because I’ve used AJA products for years and they’re durable,” he added. “They also have a legacy of giving professionals the swiss army knife toolset required to handle any format you encounter on the job. U-TAP allows me to turn a very high-end camera output into a webcam feed, so that my live output looks more professional; from the moment I opened it, I was impressed by how easy it was to get up and running. I literally just plug in the U-TAP and my computer recognizes the signal over the USB connection without the need for third-party drivers.”
Although Grossman underscores the importance of video in conferencing, he constantly reminds others in the field to not underestimate the importance of audio and lighting. He concluded, “A good mic and an overhead light as well as two small color LED lights can go a long way in shaping your webcasting look without breaking the bank. The secret to a good feed lies in a decent mic, lighting, practical backdrop, a good camera, a recorder, and a device like U-TAP.”
About AJA U-TAP
AJA U-TAP devices are 3G-SDI or HDMI USB 3.0 capture solutions that bring professional connectivity and high-quality video capture to laptops and workstations. A bus-powered device with the ability to simply and easily bring in video across 3G-SDI or HDMI for use within a wide range of software without any drivers to install, U-TAP is supported directly in macOS®, Windows® and Linux®. www.aja.com/products/u-tap-sdi and www.aja.com/products/u-tap-hdmi
About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional, broadcast and post-production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
January 3, 2022
OWC Announces Atlas Pro Series Media Card Storage and Reader for Photographers, Videographers, and Content Creators
Professional grade, high-capacity SD UHS-II V90 and CFexpress Type B media storage cards offer super-fast RAW image and up to 8K cinema-quality video capture along with ultra-compact universally compatible CFexpress reader
OWC®, the premier zero-emissions Mac and PC technology company, and a respected provider of Memory, External Drives, SSDs, Mac & PC Docking Solutions, Network Attached Storage, and Performance Upgrade Kits, announces the OWC Atlas Pro series of high-performance media cards and reader. Like the Atlas rockets that powered the historic Mercury human spaceflights into full orbit, the OWC Atlas series will launch your creative capabilities into another world.
Experience You Can Depend On
OWC has been safely protecting Mac and PC users’ data with high-performance storage solutions since 1988. Drawing on our experience as a leading developer of flash storage since 2010, we’ve engineered OWC Atlas Pro media cards with advanced performance and data management technologies to maximize the capabilities of your DSLR, mirrorless, and video camera. The OWC Atlas Pro cards let you go from shooting to transferring RAW images and up to 8K video footage to your computer with the highest workflow efficiency. Whether you’re an aspiring social media influencer, visual arts hobbyist, drone pilot, or accomplished creative professional, you can trust the OWC Atlas Pro media cards with your irreplaceable shots.
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OWC Atlas S Pro™
OWC flash storage solutions are run through intensive performance testing so creative professionals can depend on real-world speeds in their workflows. Truthfully listing Atlas S Pro cards for reliable performance up to 276MB/s write and 290MB/s read speeds defines our commitment to the “OWC Difference,” which ensures you’ll be completely satisfied these SD UHS-II V90 cards will deliver the performance you are counting on.
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Pro speed: Up to 276MB/s write and 290MB/s read real-world speeds for shooting huge photos, burst photo sequences, and recording up to 8K video
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Advanced: Uses advanced pseudo-Single-Level Cell (pSLC) flash memory to deliver 10X higher durability than ordinary SD cards and blazing-fast speed across the entire card capacity so massive still files and 8K video will write and download fast
Efficient: Fast read speeds let you offload data to the computer for immediate file access and quicker post-production -
Tough: Impact, bend, shock, UV ray, and x-ray resistant
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Compatible: Fully compatible with a wide variety of DSLR, mirrorless, 360-degree, VR, and cinema cameras
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Flexible: Backwards compatible with UHS-I SD devices and readers
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Worry-free: Up to 5 Year OWC Limited Warranty
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OWC Atlas Pro™ and Atlas Pro™ Ultra
The OWC Atlas Pro and Atlas Pro™ Ultra CFexpress Type B memory cards are rugged and OWC Beyond Fast™. They’re ideal for professional photographers, videographers, and content creators who need to capture every crucial moment at confidently one-time events like sports, weddings, and concerts.
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Consistent: Atlas Pro Ultra delivers sustained 1400MB/s speed for rapid-fire burst mode and high resolution 8K video capture
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Pro speed: Up to 1500MB/s write and 1700MB/s read peak speeds for smooth 8K capture and continuous high frame rate burst mode image capture
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Advanced: Utilizes the latest flash storage technologies to provide leading-edge performance, durability, and reliability
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Efficient: Fast read speeds let you offload data to a computer for immediate file access and quicker post-production
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Tough: Impact, bend, shock, UV ray, and x-ray resistant
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Supportive: Fully compatible with the latest Canon, Nikon, and Panasonic cameras
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Backwards compatible with XQD devices
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Compliant: Fully meets CFexpress Type B 1.0 and 2.0 specifications
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Worry-free: Up to 5 Year OWC Limited Warranty
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OWC Atlas FXR
Sized similarly to a debit card, the OWC Atlas FXR is the smallest Thunderbolt CFexpress card reader. It allows you to transfer video footage and photos on location, studio, or the edit suite to virtually any Thunderbolt or USB port-equipped computer or tablet at over 1500MB/s speed. Nearly 7x smaller than other Thunderbolt CFX readers, bus-powered Atlas FXR easily fits into the smallest camera bag, so you can pack more accessories to help capture amazing content.
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Flexible compatibility: Works with past, present, and future Macs, Windows PCs, iPads, Chromebooks, and Surface devices
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Extremely fast: Supports the maximum performance capability of CFX cards, Thunderbolt, and USB interfaces
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Read at warp speed: ingest video footage and photos at over 1500MB/s
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Ultra-compact: About the size of a debit card and up to 7x smaller than other single readers
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Travel-ready: Bus-powered, so no power supply or power cable needed
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Stable: Non-skid rubber feet keep the reader in place
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Plug and play: Includes Thunderbolt cable with tethered USB-A adapter
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Worry-free: 2 Year OWC Limited Warranty
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Pricing & Availability
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The OWC Atlas S Pro™ SD UHS-II V90 SD media card is available now in 32GB, 64GB, 128GB, and 256GB capacities on Macsales.com starting at $49.00
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The OWC Atlas Pro™ CFexpress will be available early Q2 2022 in 256GB, 512GB, 1TB, and 2TB capacities
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The OWC Atlas Pro Ultra™ CFexpress will be available early Q2 2022 in 320GB and 640GB capacities
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The OWC Atlas FXR will be available in early Q2 2022
December 16, 2021
OWC Announces Release of SoftRAID 3.0 for Windows
New SoftRAID for Windows adds support for RAID 5 volumes
OWC®, the premier zero-emissions Mac and PC technology company, and a respected provider of Memory, External Drives, SSDs, Mac & PC Docking Solutions, Network Attached Storage, and Performance Upgrade Kits, announces the release of SoftRAID 3.0 for Windows. The latest version of its powerful RAID management solution now includes support for RAID 5 on Windows 10 and 11.
SoftRAID 3.0 for Windows enables users to create powerful RAID 0/1/5 solutions for maximum drive capacity, fast data access, and robust data protection. SoftRAID for windows provides faster RAIDs with management and drive monitoring that other Windows utilities fail to provide. SoftRAID's streamlined interface makes it incredibly easy to set up and manage RAID volumes and provides a level of performance and protection you can't get with other RAID solutions.
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What’s New in SoftRAID 3 for Windows
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New RAID level: adds RAID 5
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Compatible: Works with Windows 11 and 10
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"SoftRAID for windows provides faster RAIDs with management and drive monitoring that other Windows utilities fail to provide. RAID 5 has been one of the most requested features from our users, so we're excited to add RAID 5 to SoftRAID for Windows and expand the cross-platform capability SoftRAID," said Rick Rockhold, Vice President Software Development, Windows & Mobile. "RAID 5 opens up the next level of data protection and access to our Windows customers."
SoftRAID is ideal for anyone who needs to safely store and backup massive amounts of data, including video editors, audio producers, photographers, and graphic designers.
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SoftRAID Highlights:
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Advanced: Create RAID 0/1/5 with Windows and RAID 0/1/4/5/1+0 (10) with Macs
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Universal: SoftRAID works with both Windows and Macs and built-in OWC MacDrive technology lets you seamlessly move SoftRAID volumes between OSes
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Protected: SoftRAID Monitor constantly watches your disks and alerts you if problems are detected 
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Validated: Volume validation ensures sectors can be read and parity is correct
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Certified: Checks disks before use to ensure they are safe for data storage
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Vigilant: Error prediction helps protect against unexpected failure
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SoftRAID’s core RAID creation and management technology has been finely tuned over 20 years of development. It’s ideal for voluminous data roles including audio/video production and editing, photography, graphic design, database servers, financial applications, and more. Basically, it is the brain for running, maintaining, and protecting your RAID arrays.
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Pricing & Availability
SoftRAID for Windows 3.0 is a free update for current SoftRAID 2.0 users. To purchase a new license, upgrade from SoftRAID 1.0, or add additional seats to a current SoftRAID license please visit the OWC Software Store (https://software.owcdigital.com). You can try SoftRAID for FREE with the full featured 14-day trial.
SoftRAID also ships with select OWC enclosures including: ThunderBays, ThunderBlade, Express 4M2, Mercury Elite Pro Quad, Mercury Pro U.2 Dual, and Accelsiors.
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Compatibility
SoftRAID 3 for Windows compatible with Windows 10 and 11. SoftRAID is licensed per computer, additional discounted seat purchases are available https://software.owcdigital.com
November 23, 2021
OWC Introduces Mercury Elite Pro mini USB-C Portable Storage Solution
Universally USB compatible bus-powered drive for saving, accessing, and backing up your work and personal life anywhere with plug and play ease with up to 4TB of storage capacity and 542MB/s real-world performance speeds
OWC®, the premier zero-emissions Mac and PC technology company, and a respected provider of Memory, External Drives, SSDs, Mac & PC Docking Solutions, Network Attached Storage, and Performance Upgrade Kits, announced today the OWC Mercury Elite Pro mini. Introduced over a decade ago to emulate its award-winning desktop sized OWC Mercury Elite Pro “sibling,” the OWC Mercury Elite Pro mini has earned a stellar reputation of offering superior portable storage performance.
The OWC Mercury Elite Pro mini is a powerhouse that gives creative pros, small office/home office users, students, and families the speed and universal connectivity of a USB-C 10Gb/s interface and up to 4TB of storage capacity and 542MB/s real-world performance speeds. The included USB-C cable with tethered USB-A adapter lets you plug into nearly anything, anywhere. Connect the OWC Mercury Elite Pro mini to past, present, and future Macs and PCs and iOS, Android, and Chrome OS devices. The OWC Mercury Elite Pro mini is bus-powered so that you can free yourself from power adapter limitations. Cut the cord and take high-performance storage where you need it from the desktop to a mountaintop.
The OWC Mercury Elite Pro mini isn’t just all work and no play. Besides saving and backing up computer data or functioning as a workhorse drive on set or in the edit suite, use it to watch videos, listen to music, and view pictures through your gaming console or directly attached to your Smart TV.
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As a console gamer, you know you can never have enough storage space. Whether you have an eight gen PS4 or Xbox One or the latest PS5 or Xbox Series X/S console, the OWC Mercury Elite Pro mini lets you spend more time going for the win and less time worrying about storage limits. Run backward compatible PS4 and Xbox One games directly from the OWC Mercury Elite Pro mini to maximize your new console’s precious internal storage for the latest titles. You can also store PS5 and Xbox Series X/S games on the OWC Mercury Elite Pro mini and transfer them faster than re-downloading to your console when you want to get your game on.
OWC Mercury Elite Pro mini Highlights
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Universally compatible: Plug and play with past, present, and future Macs, PCs, iPad Pros, Chromebooks, and Android tablets
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Life ready: save, access, backup, and edit work and personal files with up to 542MB/s real-world performance
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Easy backups: Apple Time Machine and Windows File History ready
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Game on: ideal for game storage with Playstation and Xbox consoles
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Entertainment center: watch videos, listen to music, and view pictures through your Smart TV
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Portable: bus-powered and rugged to go from desktop to mountain top
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Bootable: Startup and launch apps in just seconds
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Quiet: heat-dissipating aircraft-grade aluminum housing and fanless venting provide cool, nearly silent operation
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Deployment ready: pre-configured solutions undergo rigorous multi-step performance certification
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Connected: Connect universally to any USB or Thunderbolt computer or device with the included USB-C cable and USB-A adapter
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Worry-free: Up to a 3 Year OWC Limited Warranty
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Pricing & Availability
The OWC Mercury Elite Pro mini is available immediately in capacities from 0TB (add your own drives) starting at $42.99 or from 480GB, 1TB, 2TB and 4TB, models starting at $94.00.
November 19, 2021
OWC®, the premier zero-emissions Mac and PC technology company, and a respected provider of Memory, External Drives, SSDs, Mac & PC Docking Solutions, Network Attached Storage, and Performance Upgrade Kits, announces Fast Forward Rental Program for The Jellyfish by OWC.
We know that creating killer video content day in and day out is no small feat. And we know that your team doesn’t have time to spend several months evaluating endless storage options and MAM (Media Asset Management) and navigating a complex corporate budgeting process. With our new Fast Forward program by OWC, we’re making it easy to get your team the tools it needs to start working faster together.
Starting today, you’ll be able to order a Jellyfish Mobile with either 48 or 96TB of storage along with accessories like 10Gb adapters and LTO drives, plus Jellyfish software, support, and remote monitoring, all on an annual subscription. That means no up-front cost to your team to get started, and more importantly, you don’t have to try and guess exactly how much storage or how many connections you’ll need 2-3 years from now. When you’re ready to upgrade, we’ll send you a new server, help transfer your footage, take the old one back and let you focus on scaling your team. Or, if you decide the Jellyfish isn’t the right fit for your team, you can send it back and move on.
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Over the next quarter, we’ll be adding the Jellyfish Rack and Tower models to the Fast Forward program, as well as additional OWC hardware like shuttle drives, RAIDs, and docks. The Fast Forward program is only available in the US, and your Jellyfish will always need a stable internet connection. If you’re looking to go on the road or are in an air-gapped environment, this isn’t a fit right now.
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“We’ve been testing a pilot program for the last year with many companies during the pandemic. That needed a Jellyfish but had no idea which way things were going day today,” said Gergana Angelova, VP Product & Customer Experience - Enterprise Storage Marketing, OWC. “Everyone needed flexibility and couldn’t commit to a large hardware purchase, so we came up with this.”
Pricing & Availability
For more information and pricing on Fast Forward by OWC please visit MacSales.com.
November 15, 2021
OWC Announces Accelsior 8M2 World’s Fastest and Highest Capacity PCIe SSD
Revolutionary PCIe SSD solution designed for exceptional reliability and mind-blowing real-world speeds up to 26,000MB/s and massive 64TB storage capacity
OWC®, the premier zero-emissions Mac and PC technology company, and a respected provider of Memory, External Drives, SSDs, Mac & PC Docking Solutions, Network Attached Storage, and Performance Upgrade Kits, today announces the all-new OWC Accelsior 8M2. The OWC Accelsior 8M2 brings impressive speed and storage capacity to 2019 Mac Pros, Windows or Linux computers, and PCIe expansion systems. It utilizes the total bandwidth of the latest PCIe technology and has a highly efficient heat dissipating design to provide ultra-reliable speeds up to 26,000MB/s. Creating the fastest PCIe SSD meant combining bold engineering with the latest technology. Each OWC Accelsior 8M2’s eight NVMe M.2 SSD slots can run at their full x4 lanes of data throughput. All that insanely fast speed through an entire PCIe 4.0 x16 lane architecture with up to 64TB of storage.
The OWC Accelsior 8M2 offers total performance gains in so many diverse ways that it lets you create without limits:
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Edit and playback 16 streams of 8K ProRes444 without a glitch
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Keep page scenery and textures looking sharp and flowing uninterruptedly in virtual reality environments
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Experiment with larger formats and be closer to final work
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Ensure augmented reality visualizations look life-like
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Edit and store massive photo images and graphics files
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Experience faster previews, renders, and processing in VFX programs
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Effortlessly store and work with multiple production libraries and applications
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Run more iterations in DevOps in less time
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Quickly offload essential data to cloud archives for more advanced IoT management
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As a high-performance NVMe-based storage solution, the OWC Accelsior 8M2 delivers the consistent low latency data throughput required in edge computing applications such as industrial automation, smart city ecosystems, and smart retail solutions. It feeds CPUs and GPUs huge amounts of data lightning-fast for real-time predictive analytics. With 60% of storage professionals using NVMe SSDs to process large data sets generated at the edge, OWC Accelsior 8M2 is more than a competitive advantage. And to ensure OWC Accelsior 8M2 keeps running at peak speed for the long haul, there’s a quiet cooling fan in the aircraft-grade aluminum heat shield. There are no compromises, just the ultra-reliable performance that Mac and PC users have come to depend on from OWC storage solutions.
"We are always trying to push technology to the limits, and with the OWC Accelsior 8M2, can be summed up in one definitive sentence," said Larry O'Connor, CEO, and Founder of OWC. "It's the fastest, highest-capacity PCIe SSD in the galaxy."
OWC Accelsior 8M2 Highlights:
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Revolutionary: The fastest drive available for 2019 Mac Pro, Windows or Linux computers 
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Mind-blowing Performance: Up to 26,000MB/s real world speed
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Massive Space: Up to eight SSDs for jaw-dropping 64TB storage capacity
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Easy RAID: Create, monitor, and manage RAID arrays with SoftRAID
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Advanced RAID Capabilities: Supports multiple RAID levels and RAID sets for maximum flexibility
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Quietly Cool: Highly efficient and quiet heat-dissipating design for consistent peak performance
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Pre-tested and Certified: Full burn-in for assured performance and reliability
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Plug and Play: No drivers needed
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Worry-free: Up to 5 Year OWC Limited Warranty and lifetime support for solutions 2TB and larger
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Includes SoftRAID XT: Easy and Complete Drive Management
SoftRAID XT is the most powerful, intuitive software RAID utility on the market. Multiple RAID options let you select the RAID level that fits you or your project’s needs best. If you need maximum volume capacity, optimum drive performance, data protection, or a combination of attributes, SoftRAID has you covered. Packed with features like drive validation, verification, and failure prediction—SoftRAID includes features you don’t get with hardware RAID. It’s like having a data center on your desktop! From home users looking to protect photos and documents to professionals needing to protect and quickly access projects, SoftRAID is the perfect solution.
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Compatible: Works with macOS 11 Big Sur, M1 Macs, and Windows 10
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Advanced: Create RAID 0/1/4/5/1+0 (10) with Macs, RAID 0/1 with Windows machines
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Protected: SoftRAID Monitor constantly watches your disks and alerts you if problems are detected
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Validated: Volume validation ensures sectors can be read and parity is correct
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Certified: Checks disks before use to ensure they are safe for data storage
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Vigilant: Error prediction helps protect against unexpected failure
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Universal: Move SoftRAID arrays seamlessly between Macs and PCs with built-in OWC MacDrive technology
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SoftRAID provides a level of performance that you can’t get with hardware RAID. Learn more about the power of SoftRAID XT.
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Your Digital Life. Protected for FREE.
Backing up and protecting your data is critically important. But all too often, it’s a task that falls to the bottom of the “to do” list, and you don’t realize it until it is too late. That’s why OWC has partnered with Acronis to give you 1 full year of the #1 personal backup and antivirus software to integrate into your workflow. Acronis Cyber Protect Home Office safeguards you from today’s data threats—from accidents to failures to attacks. With easy, intuitive backup and Ai-enhanced antimalware technology, your digital life is protected—photos, files, applications, systems, and the devices they are on.
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Complete Backup and Fast Recovery: quickly restore your files or entire system at any time
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Easy Disk Cloning and Full Image Backup: just two clicks to start a full disk image backup
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Cloud, Local, or Hybrid Cloud: back up locally, to the cloud, or both.
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Pricing & Availability
The OWC Accelsior 8M2 SSD is available now at MacSales.com in capacities ranging from 0TB (add your own drives) starting at $799.00 and 2TB, 4TB, 8TB, 16TB, 32TB and 64TB models starting at $1,299.00.
November 10, 2021
ZEISS Cinema Americas Expands to Better Serve Cinematography Community
Zeiss Cinema Lens Team (Left to Right): Jean-Marc Bouchut – Director of Cinema Sales Americas; Claire Chang – Customer Service Cinema; Snehal Patel – Head of Cinema Sales Americas; Anna Schmidt – Cinema Marketing, Americas; Alejandro Alcocer – Cinema Sales Manager, Mexico and Latin America; Emily Miele – Cinema Sales Assistant
In an industry that relies heavily on collaboration to combine technical excellence with inspiring creativity, the last two years have been a unique challenge. The ZEISS Cinema Lens team, meanwhile, has worked hard to not only continue communications, but to also expand and improve its capabilities across the Americas. Whether it’s from behind masks or monitors they have been actively engaging with the filmmaking community, unveiling new technology, maintaining channels, sponsoring online events and film festivals, and producing their Studies in Cinematography series with the likes of Greig Fraser, ASC, ACS, Matthew Libatique, ASC and Alice Brooks, ASC.
During the 2020 industry slowdown ZEISS safely sustained consultancy and demonstration services at their Cinema Lens Demo Center resource for cinematographers and ACs, opened in Los Angeles in 2019. With the launch of the Supreme Prime Radiance lenses later that year, and four additional focal lengths added this April alone, ZEISS’ LA-based, Head of Cinema Sales and lens expert Snehal Patel, points out the benefits of the well-appointed facility. “Even during the global pandemic,” he says, “we were able to keep demo lenses flowing out to rental houses and DPs, and our team used online tools to keep in touch with the community." With restrictions easing, the comfortable Los Angeles space provides ample room for safe in-person lens demos and educational seminars.
All this activity calls for an even more robust team. After a comprehensive search they are eager to welcome the renowned Jean-Marc Bouchut to the ZEISS family. A thirty-year alumnus of French lens maker Angenieux, Bouchut takes the reins as Zeiss' Director of Cinema Sales, building out the ZEISS presence on the East coast by providing support to cinematographers and crews from the New York office. Jean-Marc and I have known each other for a long time," Patel notes. "With an extensive background in optics to share, he's here to support filmmakers at all levels."
Visitors to the Los Angeles headquarters can also meet another addition to the team, Anna Schmidt, who moves to ZEISS from Dynamic Rentals. Working with Tony Wisniewski, Senior Manager of Marketing, Anna supports ZEISS’ marketing activation and educational events.
To ZEISS, success is more than offering the top technology in lenses. As Tony sums it up: “The initiatives we're running— sponsorships, education and engagement at festivals and trade shows, as well as our new people have one goal: to support the artists using our technology and to ensure they can fulfill their creative vision." www.zeiss.com/cine-democenter
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About ZEISS
ZEISS is an internationally leading technology enterprise operating in the fields of optics and optoelectronics. In the previous fiscal year, the ZEISS Group generated annual revenue totaling 6.3 billion euros in its four segments Semiconductor Manufacturing Technology, Industrial Quality & Research, Medical Technology and Consumer Markets (status: 30 September 2020).
For its customers, ZEISS develops, produces and distributes highly innovative solutions for industrial metrology and quality assurance, microscopy solutions for the life sciences and materials research, and medical technology solutions for diagnostics and treatment in ophthalmology and microsurgery. The name ZEISS is also synonymous with the world's leading lithography optics, which are used by the chip industry to manufacture semiconductor components. There is global demand for trendsetting ZEISS brand products such as eyeglass lenses, camera lenses and binoculars.
With a portfolio aligned with future growth areas like digitalization, healthcare and Smart Production and a strong brand, ZEISS is shaping the future of technology and constantly advancing the world of optics and related fields with its solutions. The company's significant, sustainable investments in research and development lay the foundation for the success and continued expansion of ZEISS' technology and market leadership. ZEISS invests 13 percent of its revenue in research and development – this high level of expenditure has a long tradition at ZEISS and is also an investment in the future.
With over 32,000 employees, ZEISS is active globally in almost 50 countries with around 30 production sites, 60 sales and service companies and 27 research and development facilities. Founded in 1846 in Jena, the company is headquartered in Oberkochen, Germany. The Carl Zeiss Foundation, one of the largest foundations in Germany committed to the promotion of science, is the sole owner of the holding company, Carl Zeiss AG. Further information at www.zeiss.com.
ZEISS Consumer Products
ZEISS Consumer Products combines the company's business with camera and cine lenses, binoculars, spotting scopes and hunting optics. The unit is allocated to the Consumer Markets segment and is represented at sites in Oberkochen and Wetzlar.
November 4, 2021
OWC Announces Mercury Pro U.2 Dual As World’s First Thunderbolt Dual Bay U.2 Desktop Storage Solution
The ideal storage solution for anyone and any task with up to 2800MB/s speed and massive 16TB storage capacity
OWC®, the premier zero-emissions Mac and PC technology company, and a respected provider of Memory, External Drives, SSDs, Mac & PC Docking Solutions, Network Attached Storage, and Performance Upgrade Kits, announces the OWC Mercury Pro U.2 Dual. The OWC Mercury Pro U.2 Dual offers up to 16TB of storage for creative pros, small office/home office users, students, and families to save, access, backup, and edit work and personal files. It utilizes Thunderbolt’s full 2800MB/s of data bandwidth to function nearly 6x faster than your typical SSD. Dual drive bays house two NVMe U.2 SSDs for streamlined, easy-to-manage RAID storage.
A super easy, plug and play design makes the OWC Mercury Pro U.2 Dual the most convenient drive to use. Just connect the included Thunderbolt cable to your machine or OWC docking solution and start saving, editing, and sharing at warp speed.
With OWC's MacDrive software (sold separately) installed on your Windows PC, you can use Apple RAID formatted drives without jumping through hoops for the ultimate cross-platform workflow.
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The OWC Mercury Pro U.2 Dual is ready for your demanding A/V, digital photography, professional music, graphics, and general data backup needs. The OWC Mercury Pro U.2 Dual gives everyone the necessary horsepower to get the job done:
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Backing up simple to complex video editing projects
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Time Machine and File History backups of essential business data and irreplaceable personal photos
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Consolidating files from multiple smaller drives to a single location for faster, more convenient access
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Migrating data from an existing machine to a new computer
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Freeing up space on a computer's internal drive to improve performance
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An extra Thunderbolt USB-C port lets you daisy-chain devices to your OWC Mercury Pro U.2 Dual to expand your capabilities. Attach a 5K display or two 4K Thunderbolt displays. You can even place a USB device at the end of the chain. The OWC Mercury Pro U.2 Dual gives you the freedom to use more of what you need.
OWC Mercury Pro U.2 Dual Highlights
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Blazing fast: Utilize Thunderbolt’s full 2800MB/s data bandwidth
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Unrivaled Capacity up to 16TB: The only dual-bay solution with up to two NVMe U.2 SSDs
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Cross Platform Compatible: Use the same drive between a Mac and a PC with OWC MacDrive for Windows
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Additional Connectivity: Add up to five Thunderbolt devices, a display, or your choice of a USB-C or DisplayPort device via the second Thunderbolt USB-C port
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Easy Drive Monitoring: Front panel activity LEDs offer an instant status update
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Deployment Ready: Solutions undergo a rigorous multi-step performance certification
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Worry-free: Up to 3 Year OWC Limited Warranty and lifetime support
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“With the OWC Mercury Pro U.2 Dual, we wanted to build a storage solution for everyone that could handle any task or workflow,” said Larry O’Connor, CEO and Founder of OWC. “It’s perfect for everything from routine backups, storing photos, music, you name it, making the OWC Mercury Pro U.2 Dual the ideal drive for Mac or PC.”
Pricing & Availability
The OWC Mercury Pro U.2 Dual is available immediately in capacities from 0TB (add your own drives) starting at $299.99 and 2TB, 4TB, 8TB, and 16TB models on Macsales.com starting at $549.00.
October 27, 2021
AJA Debuts BRIDGE NDI 3G Gateway Appliance for NDI/SDI Conversion
Streamlines IP workflows with versatile, high-density solution for bridging NDI and SDI ecosystems
Grass Valley, CA (October 27, 2021) – AJA Video Systems today launched BRIDGE NDI 3G, a sleek, high-performance 1RU appliance that enables reliable, high density, and high quality conversion to/from SDI and NewTek’s NDI® video over IP protocol. The flexible, intuitive gateway device supports multi-channel 4K and HD workflows and is designed to help broadcast, production and proAV professionals move seamlessly between various platforms, protocols, and connectivity types.
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BRIDGE NDI 3G packs a punch with dual 10GigE onboard NICs for NDI I/O, as well as high-density SDI connections for up to 16 channels of 3G-SDI I/O – offering up to four channels of 4K or 16-channels of HD, or a mixture of HD and 4K NDI encodes/decodes in a compact form-factor. The device boasts an intuitive interface and system administration screen that make it simple to get BRIDGE NDI 3G up, running, and configured quickly and securely. Using a standard web browser, technicians, engineers, operators, and producers can access the interface remotely to view and manage content, including local monitoring preferences. Operators are also able to freely browse, favorite, label, and filter a large volume of NDI sources on the network, as well as label any SDI inputs or outputs, and see all I/O activity at any given time.
BRIDGE NDI 3G can easily be used to convert SDI camera and playout sources into NDI streams, enabling simple integration into NDI supported workflows, including virtualized productions leveraging NDI-based switchers. Using a common network, these sources can be located anywhere within a facility, allowing seamless integration of various production islands into a unified workflow. Conversely, NDI streams can be converted back into SDI ecosystems via BRIDGE NDI 3G’s configurable I/O, allowing NDI signals to move back into SDI routing systems and traditional baseband workflows.
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Device configuration and management are simple via a local interface, or remotely from a web browser interface or REST API. The rack-mountable appliance supports UYVY and UYVA 4:2:2, 8-bit and P216, for NDI, and for SDI, YCbCr 4:2:2, 10-bit. It simplifies the integration of graphics and/or 4K sources into workflows with one-click grouping controls for video-and-key, and for 4K via 3G I/O. BRIDGE NDI 3G includes dual power supplies for redundancy and AJA’s legendary 3-year warranty.
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BRIDGE NDI feature highlights include:
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Up to 16 NDI outputs, or up to 16 NDI or NDI HX inputs
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16 channels of 3G-SDI I/O, enabling up to 16-channels of HD, up to four channels of 4K/UltraHD, or a mixture of HD and 4K/UltraHD NDI encodes or decodes
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Dual 10GigE onboard NICs for NDI I/O
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UYVY and UYVA 4:2:2, 8-bit NDI I/O and support for P216 NDI output
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YCbCr 4:2:2, 10-bit support for SDI
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Reference inputs to properly time SDI outputs
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Video processing for scaling NDI inputs with non standard rasters
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Video and key support for both NDI (Video plus Alpha) and SDI (dual 3G-SDI)
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Up to 16-channels of audio, uncompressed float, 48 kHz sample rate, per NDI connection
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Up to 16-channels of 16- and 24-bit SDI embedded audio, 48 kHz sample rate, synchronous per SDI connection
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A compact 1RU chassis with redundant power supplies
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An intuitive user interface and system administration screen for simple, secure setup
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A robust web-browser based UI that allows users to view and manage content and preferences locally or across the LAN
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AJA’s three-year international warranty
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“As IP’s advantages become more readily apparent, NDI is picking up steam across the broadcast, production and proAV markets. Going all-in on IP, however, isn’t a reality for facilities with significant SDI infrastructure, which is why we’ve created BRIDGE 3G NDI,” shared Nick Rashby, President, AJA Video Systems. “Facilities can use BRIDGE NDI 3G to easily integrate a range of 3G-SDI sources into NDI workflows. It’s designed to help customers make the most out of their current gear while taking advantage of popular IP video advancements in the market.”
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Pricing and Availability
BRIDGE NDI 3G is available now through AJA’s worldwide reseller network for $11,995 US MSRP. For more information, visit: www.aja.com/products/bridge-ndi-3g.
October 27, 2021
OWC Announces Release of SoftRAID 6.2 for Mac
Software solution offers compatibility with macOS 12 Monterey and support for APFS volumes
OWC®, the premier zero-emissions Mac and PC technology company, and a respected provider of Memory, External Drives, SSDs, Mac & PC docking solutions, and performance upgrade kits, announces the availability of SoftRAID 6.2 for Mac, adding compatibility for new macOS 12 Monterey and for the first time ever, support for APFS volumes.
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SoftRAID is the most powerful, intuitive RAID management software on the market for macOS and Windows. It has impressive features like multiple RAID options and predictive disk failure monitoring that provide a level of performance that you can’t get with hardware RAID. The all-new SoftRAID 6.2 builds on this solid foundation with new technology and features, making it the most powerful RAID utility available.
What’s New in SoftRAID 6.2 for Mac
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Compatible
SoftRAID 6.2 adds support for the all-new macOS 12 – Monterey.
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APFS
For the first time ever, SoftRAID supports the creation, management, and monitoring of APFS volumes and enables access to encrypted APFS volumes created with Disk Utility1
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Incredibly Quick
The re-engineered SoftRAID driver features a new method of handling TRIM commands on SSDs. The new mechanism is 3x faster than before. What does this mean in the real world? For example, using SoftRAID with an OWC Accelsior 8M2 PCIe card enables continuous data transfer over 10GB/s! This level of performance isn’t possible in previous versions of SoftRAID and is impossible with RAID volumes not using TRIM commands, like Apple RAID.2
"SoftRAID is for anyone who needs to safely store and backup important data, including audio/video pros, photographers, archivers, families, and small businesses," said Tim Standing, OWC VP of Software Development – Mac. "SoftRAID offers vast advantages over hardware RAID and makes catastrophic data loss a thing of the past."
At SoftRAID's core are RAID creation and management technology that has been finely tuned over 20 years of development. Multiple RAID levels give you maximum volume capacity, optimal drive efficiency, data protection, or a combination of attributes. SoftRAID is perfect for anyone who needs to store and back up massive amounts of data safely.
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SoftRAID Highlights:
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Universal: SoftRAID works with both Mac and Windows and built-in OWC MacDrive technology lets you seamlessly move SoftRAID volumes between OSes
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Advanced: Create RAID 0/1/4/5/1+0 (10) with Macs, RAID 0/1 with Windows machines
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Streamlined: Disk tiles are grouped together by enclosure making it easier to keep track of multiple drives
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Licensing: Easily activate, deactivate, and add additional discounted seats
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Protected: SoftRAID Monitor constantly watches your disks and alerts you if problems are detected 
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Validated: Volume validation ensures sectors can be read and parity is correct
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Certified: Checks disks before use to ensure they are safe for data storage
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Vigilant: Error prediction helps protect against unexpected failure
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SoftRAID is powerful yet easy-to-use RAID software that maximizes drive capacity offers faster performance and protects against data loss. It’s ideal for voluminous data roles, including audio/video production and editing, photography, graphic design, database servers, financial applications, and more. It is the brain for running, maintaining, and protecting your RAID arrays.
Pricing & Availability
SoftRAID 6.2 is a free upgrade for current SoftRAID 6 users and discounted upgrades are available at the OWC Software Store (https://software.owcdigital.com) for SoftRAID 5 users. SoftRAID also ships with select OWC enclosures including ThunderBays, ThunderBlade, Express 4M2, Mercury Elite Pro Quad, Mercury Pro U.2 Dual, and Accelsiors. As always, you can test drive SoftRAID for yourself, FREE, with the full featured 14-day trial.
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Compatibility
SoftRAID 6.2 for Mac is compatible with macOS 10.12 or later including macOS 12. Apple silicon (M1) Macs require macOS 11.3 or later. SoftRAID 2 for Windows works with Windows 10. SoftRAID is licensed per computer, additional discounted seat purchases are available https://software.owcdigital.com.
October 19, 2021
Expand your storage and connectivity capabilities with a wide range of products from OWC
OWC®, the premier zero-emissions Mac and PC technology company, and a respected provider of Memory, External Drives, SSDs, Mac & PC docking solutions, and performance upgrade kits, announces innovative storage and connectivity solutions for new Apple MacBook Pro with M1 Pro and M1 Max.
Take Your Apple MacBook Pro Connectivity to the Next Level
With the new Apple MacBook Pro with M1 Pro and M1 Max, key ports are back, and by adding a dock or hub, you can turn the new MacBook Pro into a mobile powerhouse. For connectivity, OWC offers a range of dock and cable solutions to help you build the perfect on-the-go, at-home, in-studio, or on-set workstation for the new Apple MacBook Pro with M1 Pro and M1 Max.
OWC Thunderbolt Dock
Three Thunderbolt 4 ports and four USB ports empower you to connect to past, present, and future devices. Up to two 4K displays or a 5K/6K/8K display, high-performance storage including NVMe SSDs, A/V mixers, phones, tablets, even desktop accessories like a keyboard or mouse. With the OWC Thunderbolt Dock, an entire world of USB and Thunderbolt accessories is ready for you to connect and expand your capabilities.
OWC 14 Port Thunderbolt 3 Dock
Through a single cable, the OWC 14 Port Thunderbolt 3 Dock brings an unprecedented combination of ports, convenience, and power to your new Apple MacBook Pro with M1 Pro and M1 Max. With its 14 ports of connectivity thoughtfully placed, the OWC 14 Port Thunderbolt 3 Dock delivers convenience while keeping desktops clutter-free. The OWC 14 Port Thunderbolt 3 Dock front is designed to easily connect your portable devices, headphones, and media cards, while the rear features many ports for your static devices, so cables stay out of sight.
OWC Thunderbolt Hub
The OWC Thunderbolt Hub lets you consolidate and simplify the connectivity between all your devices with all the Thunderbolt ports you've always wanted. The OWC Thunderbolt Hub's four Thunderbolt (USB-C) ports and one USB port massively expand your connection possibilities. Now you can do more effortlessly on your Apple M1 Pro and M1 Max.
OWC Thunderbolt 4 / USB-C Cable
Take the guesswork out of what cables you need for your entire technology setup. The OWC Thunderbolt 4 / USB-C Cable is a plug and play safe solution for connecting any Mac, PC, iPad, Chromebook, or Surface tablet with a Thunderbolt 3, Thunderbolt 4, USB-C, or USB4 port to any device, display, or power supply with Thunderbolt 3, Thunderbolt 4, USB-C, or USB4 port. With lab test certified 100% universal USB-C compatibility and performance, whatever your devices – this Type C to Type C connection solution ensures you'll always have the right cable that works.
Blazing Fast External Storage for Apple MacBook Pro
The new Apple Macbook Pro with M1 Pro and M1 Max offer endless power possibilities. OWC is ready to support these machines' new workflow capabilities. From on-the-go, working from home, tracking in the studio, or on-set editing, OWC has you covered for your high-performance storage needs.
OWC Envoy Pro Elektron
The fastest, toughest mini-sized SSD in the universe, the OWC Envoy Pro Elektron is crushproof, dustproof, and waterproof for transferring gigabytes of data in seconds anywhere with your new Apple MacBook Pro with M1 Pro and M1 Max.
OWC Envoy Pro SX
The OWC Envoy Pro SX is a Super-fast Xtremely rugged portable SSD for daily storage and backup tasks to production-level audio, design, and photography workflow needs. It delivers Xtreme real-world speeds up to 2847MB/s with today’s and tomorrow’s Thunderbolt and USB4 equipped Macs and PCs while being dust/drop/waterproof for transferring gigabytes of data in seconds anywhere.
OWC ThunderBlade
In a fast-paced, professional environment, time is money, so performance means everything. The success of your project depends on the fast and efficient handling of uncompressed, high bandwidth content streams. The OWC ThunderBlade delivers the performance to match – capable of unbelievable transfer speeds up to 2800MB/s.
OWC ThunderBay
When it comes to needing the highest level of external storage capabilities, our ThunderBay storage solutions are perfect for professional workflows performed with the new Apple Macbook Pro. OWC ThunderBay 4 is designed with performance in mind and engineered to harness the power of Thunderbolt 3. ThunderBay 4 is an incredibly flexible external drive with the throughput to support multi-stream compressed 4K video and other bandwidth-intensive operations. It’s highly configurable to match your performance need so that you can use each drive independently or in the RAID configuration of your choice for the optimal balance of performance and data redundancy. OWC ThunderBay 8 is like a high-performance personal data center that offers multiple configuration options to suit ever-expanding storage needs. Photo, film, and video editors can take advantage of the largest capacity desktop RAID storage solution OWC has ever offered to handle the voracious drive space appetite of RAW, 4K, large format, and VR workflows. OWC ThunderBay Flex 8 is a groundbreaking workflow solution for digital imaging, VFX, video production, and video editing professionals from the world’s leading Thunderbolt accessory manufacturer. ThunderBay Flex 8 offers eight drive bays that support a mix of SATA/SAS and U.2/M.2 NVMe drives for up to 144TB of storage capacity. Next, there are many ports, including two Thunderbolt 3, one USB-C, and two USB-A for device docking and charging. There’s two frontside card readers for fast media card ingest. Lastly, there’s a PCIe expansion slot for adding an audio/video capture, networking, SSD storage, hardware RAID card, or I/O card.
"As a leader in Thunderbolt integration and accessories, OWC is proud to offer these innovative solutions for the new Apple MacBook Pro's with M1 Pro and M1 Max technologies", said Larry O'Connor, CEO and Founder of OWC. "It's terrific to have this kind of power added to the new Apple Macbook Pro's. M1 Pro and M1 Max technologies open up a whole new world for more devices revolutionizing workflows for pro audio, video, and beyond."
Pricing & Availability
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OWC Thunderbolt Dock:is available now on Macsales.com from MSRP $279.00
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OWC 14 Port Thunderbolt 3 Dock:is available now on Macsales.com from MSRP $299.00
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OWC Thunderbolt Hub:is available now on Macsales.com from MSRP $179.00
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OWC Thunderbolt 4 / USB-C Cable: is available now in 0.72m, 1.0m and 2.0m on Macsales.com from MSRP $24.00
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OWC Envoy Pro Elektron: 240GB to 2TB is available now on Macsales.com from MSRP $99.00
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OWC Envoy Pro SX: 240GB to 2TB is available now on Macsales.com from MSRP $179.00
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OWC ThunderBlade: 1TB to 32TB is available now on Macsales.com from MSRP $749.00
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OWC ThunderBay 4: 0GB enclosure (add your own drives) or from 4TB to 72TB is available now on Macsales.com from MSRP $369.00
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OWC ThunderBay 8: 0GB enclosure (add your own drives) or from 16TB to 144TB is available now on Macsales.com from MSRP $649.00
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OWC ThunderBay Flex 8: 0GB enclosure (add your own drives) or from 32TB to 144TB solutions available now on Macsales.com from MSRP $1,199.00
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See all options for docks, external storage and Thunderbolt solutions at Macsales.com
October 12, 2021
AJA Announces KONA 5, Io 4K Plus, and T-TAP Pro Support for Hardware Out in Microsoft Teams
Integration makes it easy to incorporate remote, broadcast-quality audio and video streams into live production workflows
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Grass Valley, CA (October 12, 2021) – AJA Video Systems today announced that it has collaborated with Microsoft to ensure that a range of its audio and video I/O solutions support the new Hardware Out feature in Microsoft Teams. Using the new feature with an AJA KONA 5, Io 4K Plus, or T-TAP Pro, live production and AV professionals can easily output SDI and HDMI high quality audio and video streams of on-the-ground reporters, interviewees, or events in remote locations and seamlessly weave the footage into live productions at broadcast-quality.
Microsoft Teams Hardware Out support for compatible AJA hardware is accessible within the Teams interface once enabled by an administrator. Users simply click on the permissions tab, turn on broadcast capabilities, then select “Hardware Out” for the connected AJA device to receive the video signal. A host of timing, resolutions, and frame rates are available to choose from, and once the settings are established, the user can then feed the signal out through the AJA device via SDI and HDMI to ensure a broadcast-quality signal that can be fed to routers, recorders, or other production equipment.
“As production ramps back up, it’s clear that distributed workflows are here to stay, and AJA is committed to making them as simple and accessible as possible for production professionals. Collaborating with Microsoft to ensure that our most popular I/O tools support this new Teams Hardware Out feature is an exciting extension of this,” shared AJA President Nick Rashby. “The latest integration allows production professionals to transform nearly any webcam feed into a professional-grade audio and video signal to be brought into broadcast-grade productions.”
“Integrating high quality audio and video remote feeds into live productions can be challenging and costly, but with our new Teams Hardware Out feature and industry standard hardware like AJA’s I/O solutions, it’s quick, easy and cost efficient,” shared Aaron Linne, senior program manager, Microsoft Teams for Broadcasters at Microsoft Corp. “Quality and reliability are paramount in the field, so we worked closely with AJA to ensure Teams Hardware Out natively supports professional tools like KONA 5, Io 4K Plus and T-TAP Pro.”
About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
October 12, 2021
AJA Announces Equity Stake in Diskover Data; Introduces AJA Diskover Media Edition
Powerful new data search and analysis toolset addresses M&E market demand for simpler way to manage stored assets on any platform from anywhere as content boom grows
Grass Valley, CA (October 12, 2021) – AJA Video Systems today announced that it has taken a proactive equity stake in data analytics software developer Diskover Data and simultaneously launched AJA Diskover Media Edition. The new software is based on open source roots and lets media and entertainment professionals (M&E) easily search, find, and analyze media asset data originating from on-premises, remote, and cloud storage – aggregating associated metadata into a unified global index. The solution enables users to make more informed data decisions, a key capability as the M&E industry is on track to create more data in the next three years than it has in the last three decades.1
AJA Diskover Media Edition is designed to serve a range of professionals in the M&E industry, from executives to systems administrators, IT managers, operational personnel, creatives, and beyond. The software allows users to easily index hundreds of petabytes of data and more to easily locate files, analyze them, and pinpoint misallocated resources. It ultimately saves companies time and expenditure by helping them to identify wasted storage space, aging and unused files, data changes, and more.
With AJA Diskover Media Edition, metadata can also be seamlessly harvested to add business context and insights to files to inform data decisions and business processes, and to streamline workflows. It includes custom plug-ins that address the specific needs of M&E professionals around the world, regardless of the physical or virtual platforms utilized to store media content. AJA Diskover Media Edition further enables users to search across multiple platforms simultaneously, and discover and present data in a master index, while generating reports and cost analysis to a range of roles across productions or enterprises.
Key highlights include:
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A single master index: Ensure that all files across cloud, remote, and on-premises storage are up to date, and that data access and rights can be easily controlled on a per-user level, with Diskover’s constant indexing and centrally located indexes.
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Snapshots in time: Tap into a history of indexes to easily compare storage over time and project future growth demands, as well as identify areas of concern.
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Elasticsearch: Scale to any environment size and type with an open-source core that simplifies asset search and provides insights into associated storage costs. Easily integrate with external APIs and order management platforms.
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Tagging: Use tags to support workflow actions and approval processes, such as file deletion approval on an expired asset.
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Analysis: Advance media workflows and monetization efforts with access to robust technical metadata (i.e. codec, number of audio files, resolution, etc.) via a simple search. Gain insights that provide team members with in-depth information about each asset and where it landed for more informed decision-making.
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Support for hybrid environments: Seamlessly run Diskover across on-premises storage solutions and cloud-based storage services.
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An intuitive web-browser UI: Access AJA Diskover Media Edition from anywhere with an internet connection and easily deploy multiple indexers globally at other facilities, all reporting into one common platform and master index.
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Security: Read-only access to the file systems and a web-based UI not directly connected to the storage prevents file corruption, deletion, or unwanted changes to assets.
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Global asset overview: Provide remote teams and individuals with a global view of the assets for each given production, group of productions, or client – empowering their own relationship with the data.
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Cost analysis tools: Make more informed data-related decisions about time, resources, and investments to reduce operating costs.
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“We’ve seen firsthand how unwieldy data management has become for our clients in content production and post, which poses a huge challenge as the M&E market braces for an unprecedented content boom. The speed at which files are proliferating, determining where those files are stored, how much that storage costs, who is tapping into those files and where they’re being archived is essential, but that information is often hard to track down,” shared AJA President Nick Rashby. “AJA Diskover Media Edition takes the guesswork out of the equation, helping M&E professionals work much more efficiently. One of the secrets to AJA's success these many years has been our ability to deliver technologies that solve industry problems through partnerships with companies like Diskover, and we’re excited to share the resulting technology with the M&E community.”
“We developed Diskover data curation technology as data management was just emerging as a problem across a number of industries,” shared Diskover CEO Paul Honrud. “Our solutions are already in use by companies around the world spanning technology, enterprise and medical, and we’re excited to scale our offering into the media content creation arena. AJA offers best in class solutions for content production and is an ideal partner for us, as many of their existing customers will benefit from our solution.”
Ken Spickler, Director of Engineering at Visual Data Media Services, shared, “Diskover’s web interface allows anyone on our team to quickly access and identify any piece of information they’re looking for – whether tracking storage usage, identifying how to better manage our files or keeping apprised of our data growth. We look forward to seeing all the new features that AJA brings to the table with its Media Edition.”
Pricing and Availability
AJA Diskover Media Edition is now available for an annual subscription of $11,995 USD per node. For more details or to access a demonstration, visit: www.aja.com/products/aja-diskover-media-edition.
About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
September 30, 2021
OWC Announces Thunderbolt Dual DisplayPort Adapter
Easily add up to two 4K or 8K displays for stunning images, increased productivity enhanced gaming
OWC®,the premier zero-emissions Mac and PC technology company, and a respected provider of Memory, External Drives, SSDs, Mac & PC docking solutions, and performance upgrade kits, announces the OWC Thunderbolt Dual DisplayPort Adapter. With the new OWC Thunderbolt Dual DisplayPort Adapter, you’ll be amazed when your eyes see up to 8K resolution delivered by the OWC Thunderbolt Dual DisplayPort Adapter. By utilizing the latest DisplayPort 1.4 technology, this high-performance adapter delivers up to 4x higher resolution than DisplayPort 1.21. All you need is a single Thunderbolt port to plug it in, and this little wonder’s compact size and bus-powered convenience will open a world of possibilities.
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The OWC Thunderbolt Dual DisplayPort Adapter lets you work with newfound multitasking ease. Use it to create graphics-intensive content and edit photos with more precision. Keep projects active on one screen while attending a video meeting on the other. Create a panoramic video wall for the digital signage application. And when it’s time for play, higher resolutions and refresh rates provide the most immersive video gaming experience available. The OWC Thunderbolt Dual DisplayPort Adapter lets you multitask with ease.
Use it to create graphics-intensive content and edit photos with more precision. Keep projects active on one screen while attending a video meeting on the other. Create a panoramic video wall for the digital signage application. And when it’s time for play, higher resolutions and refresh rates provide the most immersive video gaming experience available. With dual display uses through just one Thunderbolt port on your computer. The OWC Thunderbolt Dual DisplayPort Adapter is mobile-ready; with its compact size and bus-powered convenience, this handy adapter ensures you’re always ready for a BYOD (Bring Your Own Device) office or classroom presentation. Take it along with your Thunderbolt-equipped iPad to enjoy video content on a bigger screen.
The OWC Thunderbolt Dual DisplayPort Adapter opens a world of possibilities
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Professionals: Use it to stream high-resolution, life-like content on multiple monitors. Keep active projects open on one display while viewing members of an online meeting on another display. Keep an eye on chat boxes while simultaneously connecting with your followers on another screen.
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Students: Improve online learning with multiple screens. Read text or watch the instructor on one display as you take notes on the other.
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Gaming: Stretch that racing and flight sim game across two screens for an unbelievable view. Dedicate one screen as a map or voice chat display to eliminate the hassle of minimizing game windows.
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OWC Thunderbolt Dual DisplayPort Adapter Highlights:
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Single display up to 8K @ 30Hz or 8K @ greater than 30Hz with DSC
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Dual display up to 4K @ 60Hz, 4K @ 144Hz with DSC, or 8K with DSC
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See it All: Watch videos, play games, create crisp digital signage walls, and make eye-catching presentations on a DisplayPort display or projector
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Full Display Potential: DSC (Display Stream Compression) compatible for higher refresh rates
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Stunning Visuals: HDR for sharper images, brighter colors, and greater contrast
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Hear More: Supports multichannel, high-definition digital audio formats
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Energy Efficient: Achieve high resolutions on two displays without draining system resources
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Protected: 1 Year OWC Limited Warranty
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Pricing & Availability
OWC Thunderbolt Dual DisplayPort Adapter is available to order on Macsales.com for $78.00.
September 14, 2021
AJA RELEASES BRIDGE LIVE V1.12 WITH NEW NDI® AND HLS COMPATIBILITY
Grass Valley, CA (September 14, 2021) – AJA Video Systems released BRIDGE LIVE v1.12, a new software update for AJA’s turnkey multi-channel live video solution for remote production, contribution, collaboration, streaming, and delivery. The release features bi-directional NDI® (Network Device Interface) input, output and transcode; HLS output; video preview; and user interface updates for more intuitive configuration.
Whether facilitating remote production, two-way interviews, live event streaming, multi-cam backhaul, field contribution, program return, confidence monitoring, collaborative production, or ABR ladder profiles to hand-off for OTT packaging, BRIDGE LIVE v1.12 delivers powerful new functionality. Bi-directional NDI support makes it easy to encode SDI inputs for NDI output to the network and/or to receive NDI for outputting SDI. The ability to also transcode IP Video Streams to NDI and/or transcode NDI Inputs to IP Video Streams enables a host of new workflow possibilities. For example, BRIDGE LIVE can now sit at the edge of an NDI event or facility network, enabling professionals to transport outbound NDI video as a streamable format, and/or return the stream to NDI for use at a remote NDI production destination.
BRIDGE LIVE v1.12 feature highlights include:
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Bi-directional NDI-SDI conversion:
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Receive NDI and decode to SDI
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Input and encode SDI to NDI
Bi-directional NDI-IP Video Streams conversion:
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Receive NDI and transcode to IP Video Streams (i.e., H.265, H.264)
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Receive IP Video Streams (i.e., H.265, H.264) and transcode to NDI
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Integrate remote NDI and non-NDI equipment/facilities via RTP/UDP/SRT
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Tap directly into the NDI network and provide a conduit to CDNs or other delivery mechanisms
HLS Output (HD): Input SDI sources and IP Video Streams into BRIDGE LIVE and encode them for sharing to widely used devices and software, or via remote screening to iOS and iPadOS devices via HLS
Video Preview: With support for Video Preview thumbnails now available in the BRIDGE LIVE GUIDE for SDI Inputs, receive visual confirmation for correct SDI input/content encoding, even if unable to “go live” to check the content for security UX improvements: Explore more intuitive pipeline configuration and options such as “start detecting input” and “set as input” buttons, and enhanced responsiveness. A new Factory Reset method: An alternative and rapid method to access factory reset directly from the boot menu
“BRIDGE LIVE v1.12 marks AJA’s second major software update for the device since launching the product less than a year ago and addresses key customer feature requests to streamline operations and provide greater workflow flexibility in the field,” shared Nick Rashby, President, AJA Video Systems. “This is our first NDI-enabled product, and we couldn’t be more excited to bring the unique capabilities of BRIDGE LIVE to the huge range of NDI users around the world. Bringing bi-directional NDI I/O and HLS output to BRIDGE LIVE offers professionals broader hardware and software integration and a simpler, cost effective alternative to deploying large teams of personnel and resources at remote locations.”
Pricing and Availability
BRIDGE LIVE v1.12 is available now for download from AJA’s website. The latest update comes standard with all newly purchased BRIDGE LIVE units and is also available to existing users with an active maintenance agreement. Customers without a maintenance agreement can access bug fixes within v1.12 but will not receive new feature access. BRIDGE LIVE is available through AJA’s worldwide reseller network starting at $14,995 US MSRP. For more information, visit: www.aja.com/products/bridge-live.
About AJA BRIDGE LIVE
Developed in cooperation with IP video software experts Comprimato, BRIDGE LIVE is a turnkey solution built for critical streaming and contribution applications with high performance 12G-SDI video encoding/decoding, stream-based transcoding, comprehensive metadata and closed caption support, all within a compact 1RU form factor with redundant power supplies. www.aja.com/products/bridge-live.
About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
All trademarks and copyrights referenced herein belong to their respective companies
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September 2, 2021
OWC Announces Jellyfish Manager 2.0 Offering New Design, Dashboard, And Cloud Backup Integrations
Offering deeper analytics, a cloud backup integration that works seamlessly with Backblaze, AWS, and Wasabi, and new or enhanced workflow integrations with Postlab, Frame.io, and iconik
OWC®, the premier zero-emissions Mac and PC technology company, and a respected provider of Memory, External Drives, SSDs, Mac & PC docking solutions, and performance upgrade kits, announces Jellyfish Manager 2.0. The Jellyfish Manager is the modern, beautiful & intuitive interface between the user and the Jellyfish by OWC. It gives post-production teams the tools they need to be self-reliant and frees up IT teams to stay focused on their day-to-day tasks. With a style that matches the modern-day software tools creatives use daily, Jellyfish Manager is the easiest-to-use tool for server administration ever created.
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Jellyfish Manager 2.0 works directly with Jellyfish servers, a specialized shared storage device that allows multiple post-production video editors to work simultaneously with 4K, 6K, and 8K footage. Video teams at some of the largest companies in the world, YouTube creators, post-production houses, and creative agencies love the Jellyfish servers for their ease of use and video workflow support.
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Since then, the Jellyfish team at OWC has added a ton of new functionality that called for a new layout focused on organization and a streamlined user interface. The updated design includes easily accessible menus and deep linking throughout the whole application. System alerts are now readily available from all pages in the app also additional tooltips across the board, and intuitive terminology to speed up the learning process.
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Embracing the cloud
Jellyfish Manager 2.0 now includes the most requested cloud backup services that allow you to run scheduled backups, and if necessary, recover your data from the cloud. Jellyfish Manager 2.0 also improves integration with Backblaze and included AWS and Wasabi cloud services and will include more in the future.
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Enhanced workflow integrations
Frame.io syncing between Jellyfish folders and Frame.io projects are now possible without going through watch folders on your workstation. Combined with the transcoding functionality of Jellyfish Media Engine, this integration helps teams collaborate through Frame.io while storing their original footage on the Jellyfish. If you aren't already familiar, Postlab is a platform that allows teams to collaborate more efficiently in Apple Final Cut Pro and Adobe Premiere Pro. It is cloud-based, but it can run locally on the Jellyfish itself instead of using the cloud with our new Jellyfish integration. We are proud that the Jellyfish is the only on-prem solution that works with Postlab Local.
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"We are all excited about all this new functionality," said Josh Minney, COO, OWC. "We hope you will enjoy the improved experience. There are many improvements in the new Jellyfish Manager 2.0 that users won't notice but will allow us to build more integrations with our software and third-party applications."
Jellyfish Manager 2.0 Highlights:
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Check your vitals: Check your vitals: Monitor memory, temperature, storage, and CPU usage immediately and quickly see the health of your drives
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Manage file permissions: Decide who gets access to specific shares and folders with just a few clicks. Easily create and add local users and groups for your team and assign them permissions in less time than it takes to upload a cat video to Youtube
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Customize network settings: Jellyfish systems come completely preconfigured for 4k+ video and direct connections, but if you'd like to create and modify network settings or bond ports into your switch, we promise you won't have to read a 50-page manual first
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Enable powerful workflows: like Jellyfish Remote Access, Snapshots, Davinci Resolve Collaborative Database, or iconik Storage Gateways
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Pricing & Availability
Jellyfish Manager 2.0 will be available to all new customers and customers who have an active support plan. For more information, please visit Lumaforge.com/support
August 19, 2021
OWC Announces ArGest® IngestPro Software For macOS
Powerfully simple tool for ingesting BRU, LTFS, and tar tape, disk, and camera card data onto your macOS system in a single button click
OWC®, the premier zero-emissions Mac and PC technology company, and a respected provider of Memory, External Drives, SSDs, Mac & PC docking solutions, and performance upgrade kits, announces ArGest® IngestPRO, simple yet comprehensive software for ingesting BRU, LTFS, and tar files on your Mac. ArGest® IngestPRO removes the guesswork of what tape format you might receive from clients and other sources.
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ArGest® IngestPRO automatically identifies if the tape has BRU, LTFS, or tar files, and with one simple click, you start ingesting the tape data to your Mac with library support enabled. You can also ingest data from HDDs/SSDs/CDs/DVDs and camera cards for a comprehensive ingest tool. Bottom line, if you can connect the media type to your computer, ArGest® IngestPRO can process it.
ArGest® IngestPRO is customizable and cost-effective for the ultimate in control. A one-window control menu offers the choice of ingesting specific content by folder or file name. You can also maximize your tape library investment by choosing to overwrite existing files.
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ArGest® IngestPRO Highlights:
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Comprehensive: ingest data on BRU, LTFS, and tar tapes, disks, and camera cards
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Custom: choose to ingest specific content only
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Simple: choose your source type, source device, tape type, and click that's it
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Convenient: ejects tape from the drive when ingest is complete
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Cost-effective: get most use life from tapes by choosing to overwrite existing files
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Risk-free: view utilization demonstration videos from our support department prior to purchase
Pricing & Availability
ArGest® IngestPROis available to order on the OWC Software Store for $999.
System and Device RequirementsOS Requirements: Compatible with macOS 10.10.6 and later. Device requirements: BRU, LTFS, or tar formatted LTO tape, hard drives, solid-state drives, camera cards, and other removable media.
August 17, 2021
OWC Announces ArGest® Backup Easy Drag And Drop Backup Archival And Restore Solution
Now offering complete macOS, Windows, and Linux compatibility plus ArGest® Backup bundled support for complete Ingest, Edit, Archival, and Delivery
OWC®, the premier zero-emissions Mac and PC technology company, and a respected provider of Memory, External Drives, SSDs, Mac & PC docking solutions, and performance upgrade kits, announces the availability of the OWC Mercury Pro LTO with complete macOS, Windows, and Linux compatibility plus bundled ArGest® Backup software supporting LTFS bulk transfer and delivery, backup, archive, and unique storage options. The OWC Mercury Pro LTO provides an industry-leading data management/storage/transportation/archive strategy.
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Monitoring and Evaluation professionals, corporations, government branches, and small businesses face the same challenge: managing an ever-increasing amount of more complex data. Higher resolution, complex audio, and diverse formats are the project norm. Organizational content is projected to grow 50-70% annually as more data is digitalized and licensing regulatory compliance requirements to become more stringent.
There's a priceless familiarity in using LTO to protect your data. The included ArGest® Backup software provides fast, easy drag and drop asset management utilizing the highly revered and reliable BRU archival format. For reliable backup and long-term, deep archival or the SNIA Bulk Transfer Standard with the Linear Tape File System (LTFS). The Mercury Pro LTO solution provides the best options for both archival and large-scale data transfer. Advanced and future ready, LTO tape is the dominant archiving medium that has continued to improve and grow in both performance and capacity since being introduced in 2000. Because LTO is an open standard with many support manufacturers and vendors, users can be confident of access their data with any brand of LTO hardware for decades to come. The Mercury Pro LTO is currently available with LTO-7 or LTO-8 drives providing native capacities of 2.5TB and 6TB (LTO-7), 6TB, 9TB, and 12TB (LTO-8), and is designed to support the future release of LTO-9 drives later this year.
OWC Mercury Pro LTO Highlights:
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Store more: up to 6TB native/15TB compressed1 on the LTO-7 drive or 12TB native/30TB compressed1 storage capacity per tape cartridge
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Flexible: The LTO-7 drive will read LTO-7, and read and write LTO-6 and LTO-7 tapes while the LTO-8 Drive reads and writes LTO-8, LTO-M8, and LTO-7 tapes
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Store longer: 30-year or greater tape longevity
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Instant ROI: Lowest cost storage format; as low as $0.02/GB and up to 50x less costly than online storage
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Full LTFS Support: archive files/folders with drag and drop ease
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Compliance ready: supports WORM cartridges required by legal/regulatory record keeping
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Fast tape creation: up to 300MB/s native/750MB/s2 compressed transfer rates
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Configurable drive bay: add an optional 2.5/3.5-inch SSD for up to 16TB onboard storage capacity
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Expansive: second Thunderbolt 3 port for adding up to five additional Thunderbolt devices or your choice of a USB-C or DisplayPort device
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See more: DisplayPort 1.4 supports up to an 8K display4
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Charge while working: 85W of notebook charging
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Transportable: Compact form factor with built-in handles for moving between set and studio
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Worry-free: up to 3 Year OWC Limited Warranty with lifetime US-based support
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ArGest® Backup powered by BRU™ technology is the fastest backup and archiving software available. You can backup and archive folders, files, or session files in major applications to LTO-7 and 8 tapes at real-world speeds up to 300MB/s. Your archives are then fully verifiable and restorable with the maximum amount of data on nearly any OS, something no other backup utility can provide. ArGest® Backup is also the only Backup and archiving tool that can recover from errors and will restore as much data as possible even in the event of a lost or damaged tape
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Mercury Pro LTO units ship with ArGest® Backup Desktop Edition™. Designed for personal or small one to two-person shops with a single tape drive and disk-based backup. Backups can be performed in more manageable segments where full and incremental data coverage fits on one or two tapes or can be safely stored on a removable disk or device such as the HPE RDX removable disk solution.
Need more power and flexibility? Upgrade to the Workstation or Producer's Editions that add additional tape drives. Workstation Edition supports a second tape drive (Doubler mode) and tape automation (50 slots and two tape drives). The Producer's Edition expands support with drag and drop restore support for CMX 3600 EDLs. Full recognition and parsing of Final Cut Pro, Premiere Pro, and Resolve projects, production-oriented Film and Episodic metadata support, and other ease-of-use features aimed at the Media and Entertainment industry user.
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ArGest® Backup Highlights:
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Easy and familiar: backup and archive folders, files, or session files with drag and drop simplicity in major applications
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Fastest: real-world LTO tape speeds up to 300MB/sec using LTO-7 and LTO-8 tape devices for the fastest Backup and Recovery available
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Flexible: verify BRU™ archives at any time on macOS, Windows, or Linux
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Diverse: can be used to Backup to portable USB or Thunderbolt drives, removable disk storage such as RDX and Lyve Mobile™, local cloud storage, and tape media
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Reliable Recovery: restore maximum possible data, even with a missing or damaged tape in a multiple tape archive
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Fully auditable: Check media status any time, even on a different system or OS with ANYTIME Verify™
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Efficient: create two identical tapes in a single backup or archive operation with Doubler Archival Mode™
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Manage: automatically creates organized tape catalogs for fast searching and restore access time
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Complete: after archive is complete, create a self-contained CD/DVD/USB or network key with all components required files to restore on a non-BRU system
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Diagnose: built-in functions for checking and reporting LTO equipment operational status during all Backup and restore operations
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Risk-free: 30-day free trial of full featured, fully functional demo
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Pricing & Availability
The OWC Mercury Pro LTO is available to order from MacSales.com for $4,599 and now includes ArGest® Backup, LTO-8 tape, and cleaning cartridge. Additional solutions up to 16TB are also available. ArGest® Backup is also available for single purchase starting at $249 on the OWC Software Store.
July 28, 2021
AJA Desktop Software and SDK v16.1 Debut with Native Apple® M1 Support
New releases deliver feature improvements for AJA KONA, Io, T-TAP, and Corvid solutions, including Apple M1 chip compatibility
AJA Video Systems today rolled out Desktop Software v16.1 for KONA, Io, and T-TAP Pro products, alongside AJA SDK v16.1 for Developer Partners. Both releases include native support for the powerful Apple® M1 chip, and feature enhancements that optimize audio, broadcast, and production and post workflows, and third-party tools built with AJA Developer Partner solutions.
Broadening system compatibility, the latest AJA Desktop Software and AJA SDK updates allow AJA KONA, Io, and T-TAP Pro users and Developer Partners to harness the power and cost-efficiency of Apple M1 compatible systems for professional video I/O tasks, in addition to existing support for Intel-based systems from Apple, as well as Windows, Linux Ubuntu and Linux CentOS systems. Desktop Software v16.1 expands the available options in AJA MultiChannel Config, enabling 12G-/6G-SDI input support as well as extended audio input support for AJA KONA, Io, and T-TAP Pro products with Telestream Wirecast. AJA Control Panel also receives an upgrade via the latest update with additional GUI feedback added for situations where “Auto” has resulted in signal modification, making it easier for creatives and technicians to understand results. V4L2 updates in AJA SDK v16.1 for KONA HDMI bring expanded controls for Developer Partners using Video for Linux, while 64-channel audio support for NTV2 SDK provides greater flexibility for Developer Partners using Corvid 44 12G or KONA 5 in 8K workflow solutions.
Key release highlights include:
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Desktop Software v16.1 is optimized to deliver native Apple M1 support for AJA macOS drivers and application plug-ins, AJA Control Room, AJA Control Panel, and AJA System Test and NMOS software
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Improved Telestream Wirecast support, including 4K via 12G-/6G-SDI, Digital AES Audio Input, and Analog (Line Level) Audio Input
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AJA Control Panel enhancements
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V4L2 updates for KONA HDMI
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64-channel audio support for NTV2 SDK
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“As the demand for video continues to grow across industries, professionals in broadcast, production, post and AV need to be able to leverage the latest technology like the incredibly powerful Apple M1 chip, which is why we prioritized the development of these new releases and are excited to deliver them to AJA end-users and Developer Partners,” shared Nick Rashby, President, AJA Video Systems. “AJA Desktop Software v16.1 continues to bring KONA, Io and T-TAP Pro users new features aimed at streamlining creative workflows while AJA SDK v16.1 includes enhancements that open up a host of new opportunities for Developer Partner partners.”
Pricing and Availability
AJA Desktop Software v16.1 is available now as a free download from the AJA support page. AJA SDK v16.1 is accessible to participants of the AJA Developer Program as a free download from the AJA Developer Partner support site.
About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
All trademarks and copyrights are the property of their respective owners.
July 22, 2021
OWC Introduces Envoy Pro SX Thunderbolt Bus-Powered Portable SSD
Super-fast, Super-durable workflow superhero easily handles all storage and backup challenges
OWC®, the premier zero-emissions Mac and PC technology company, and a respected provider of Memory, External Drives, SSDs, Mac & PC docking solutions, and performance upgrade kits announces the new OWC Envoy Pro SX, the Thunderbolt portable SSD that can withstand any condition. The mild-mannered exterior of the OWC Envoy Pro SX hides its true nature. It's super-fast. Super-versatile. Super-portable. And rugged enough to endure the most challenging work and play settings.
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This little beast of an SSD handles all data storage and backup challenges like a real superhero when put to the test. The OWC Envoy Pro SX is versatile enough to be used as a bus-powered drive for daily storage and backup tasks. It can handle workflows easily handle the speed demands of production-level audio, design, and photography workflows. And it serves up real-world performance speeds up to 2847MB/s1 with modern Thunderbolt and USB4 equipped Macs and PCs. Built along the OWC Envoy Pro EX's award-winning lineage, this tiny but mighty ½ pound portable drive is 1/3 smaller. It features a removable Thunderbolt cable and is test certified to handle the nastiest environments. From managing obstacles in the field to crushing deadlines at home, the OWC Envoy Pro SX lets you unleash your productivity power without needing a cape or mask.
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The grooved fins on the OWC Envoy Pro SX's matte black aluminum chassis transform it into a highly effective heat sink. Even after a diabolically long file transfer, the stealthy and silent OWC Envoy Pro SX stays reliably fast. The OWC Envoy Pro SX is fully compatible with macOS and Windows built-in encryption, so you can add peace of mind password security to your data whenever you need it. Whatever your data journey, the OWC Envoy Pro SX stands ready to deliver a crushing blow to time-robbing work and play challenges in the blink of an eye.
OWC Envoy Pro SX Highlights
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Lightning Fast: Advanced OWC Aura Pro SSD storage technology with TRIM support works with Thunderbolt to deliver the fastest and most reliable performance available in a portable drive 
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Super Versatile: Perfect for audio, video, photography, graphics, gaming, and general data storage/backup uses 
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Xtremely Portable: Bus-powered and smaller than most compact smartphones 
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Xtremely Rugged: Certified dustproof, drop-proof and waterproof 2
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Silently Cool: Fan-less, heat dissipating aluminum housing for distraction free operation 
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Secure: Non-skid rubber feet keep the OWC Envoy Pro SX in place  
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Informative: LED for at-a-glance confirmation of power and activity status
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Connected: Included Thunderbolt cable plugs into Thunderbolt and USB4 Macs and PCs  
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Worry-Free Reliability: 5  Year OWC Limited Warranty 
"For OWC Envoy Pro SX, we wanted to make a drive that's truly unique," said Larry O'Connor, CEO and Founder of OWC. "Listening to our customer's suggestions from the Envoy Pro EX model, we made sure to add a detachable Thunderbolt 4 / USB4 cable, and while we were at it, we made it a smaller form factor and even more rugged by adding IP67."
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Pricing & Availability
The OWC Envoy Pro SX 240GB to 2TB models are available now, starting at $199 on MacSales.com.
July 8, 2021
OWC Announces U2 ShuttleOne Build Your Own Affordable High-Performance U.2 SSD
U.2 flexibility from the U.2 leader adds blazing fast and highly affordable storage to your computer's U.2 equipped bay with speeds up to 8,000MB/s
OWC®, the premier zero-emissions Mac and PC technology company, and a respected provider of Memory, External Drives, SSDs, Mac & PC docking solutions, and performance upgrade kits, announces the OWC U2 ShuttleOne. This innovative "build your own" heat dissipating full metal adapter brings U.2 SSD performance and capacity to the mainstream in a flexible, easy-to-use design. Performance enthusiasts, IT admins, M&E pros, gamers, and more can now use a readily available and affordable NVMe M.2 "blade" style SSD in a 2.5-inch U.2 bay. Whether you have a U.2 bay equipped server, workstation, gaming rig, or external drive, the OWC U2 ShuttleOne gives you access to a new world of storage possibilities.
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The OWC U2 ShuttleOne offers a full-metal housing that solidly protects your drive and data while providing cooling that's superior to adapters made with other materials. The OWC U2 ShuttleOne delivers complete drive reliability and takes your workflow beyond the limits. Small form factor NVMe M.2 SSDs can pack a powerful performance but swapping them can damage the connector and make the drive unreadable. The OWC U2 ShuttleOne lets you change your NVMe M.2 SSD at will in any 2.5-inch U.2 drive bay with the peace of mind that your drive will stay protected. This innovative adapter is fully certified and rated up to PCIe Gen 4, meaning the OWC U2 ShuttleOne supports your drive's fastest performance up to 8,000MB/s. The OWC U2 ShuttleOne can make your dream of mind-blowingly fast speeds a reality.
The OWC ShuttleOne is built for many different tasks and lifestyles
Gamers: Change out game load drives quickly while keeping an extra heat source from resting directly on your motherboard by installing the OWC U2 ShuttleOne in an open U.2 2.5-inch bay or connecting it to a U.2 port on the motherboard a U.2 power/data cable.
IT Admins: Boost your bottom line and lower your server room/data center TCO by using affordable NVMe M.2 drives. This thermally efficient, easily swapped adapter will meet all of your drive-swapping needs with ready flexibility.
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Performance Enthusiasts/System Builders: Add blazing fast, highly affordable storage to your computer's U.2 equipped bay. If you're building a system that has a U.2 port on the motherboard, you can create a U.2 enabled drive bay with a U.2 power/data cable. You can also use the OWC U2 ShuttleOne externally with a wide variety of OWC solutions that offer one or more U.2 bays.
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Archiving/Backup: The affordability of M.2 drives and the OWC U2 ShuttleOne enables you to create fast-access storage archives for individual clients, large projects, and off-site data backups.
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M&E Capture: Record it all faster, more accessible, and more affordably with U.2 capable digital capture systems. Now you can use a single drive without any particular card reader: experience faster performance, higher capacity, and a superior cost per GB ratio vs. digital media cards.
Ingest, Duplicate, and Ship to Post Workflow: Dramatically lower ingest time and cost with a single high-performance drive. The OWC U2 ShuttleOne will help you significantly reduce shipping costs to post-production by utilizing a U.2 bay-equipped PC or OWC solution on both ends of the workflow.
OWC U2 ShuttleOne Highlights:
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Flexible: Easily install an NVMe M.2 SSD in minutes
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Swappable: Protects your SSD connector from wear
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Beyond Fast™: Fully PCIe Gen 1-4 certified for today’s and tomorrow’s SSDs, up to 8,000MB/s
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Broad Compatibility: Use in 2.5-inch U.2 bays and OWC ThunderBay Flex 8, and OWC Mercury Helios 3S with U.2 NVMe Interchange System
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Optimum Cooling: Full metal housing keeps the drive running cool and throttle-free
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Worry-free: Up to 3 Year OWC Limited Warranty and lifetime support
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"As the leader in U.2 storage, OWC offers the broadest choice of use options For All Computerkind™," said Larry O'Connor, CEO and Founder of OWC. "The OWC U2 ShuttleOne gives you the flexibility to retask an existing NVMe M.2 drive after upgrading or using a new drive with a higher storage capacity."
Pricing & Availability
The OWC U2 ShuttleOne is available now for $44.99 at MacSales.com.
July 7, 2021
AJA Announces New openGear® Fiber to 12G-SDI Converters
Pair of OG-FiDO 12G receivers support conversion from LC/ST Fiber to 12G-SDI; New firmware updates now available for select AJA openGear card models
AJA Video Systems has expanded its lineup of openGear® compatible 12G-SDI Fiber Converters with a pair of new OG-FiDO 12G cards for receiving signals from LC Fiber or ST Fiber and converting those signals to baseband 12G-SDI. OG-FiDO-R-12G-ST is a Fiber receiver that supports single-channel conversion from ST Fiber to 12G-SDI, and OG-FiDO-2R-12G offers dual-channel conversion from LC Fiber to 12G-SDI. Both new models receive 12G-SDI signals from standard Fiber video sources, including AJA FiDO Mini-Converters.
“Fiber solutions are critical for facilities looking to reduce cable runs while also having the ability to securely send high-bandwidth signals very long distances, and we’ve witnessed a surge in demand from customers looking to upgrade to 12G-SDI infrastructures,” said Nick Rashby, President, AJA Video Systems. “In response, we’ve released two new robust and powerful OG-FiDO 12G openGear receiver cards – joining the OG-FiDO-TR-12G Fiber transceiver – that offer reliable conversion within a compact, high-density, rack mountable form factor.”
AJA’s OG-FiDO 12G cards offer unmatched flexibility and cost efficiency for Fiber to 12G/6G/3G/HD/SD-SDI conversion, supporting extended cable runs (up to 10km) over standard single-mode Fiber optic cable. The OG-FiDO-R-12G-ST receiver is a single-channel converter for Single Mode ST Fiber to 12G-SDI conversion. For dual-channel conversion, the OG-FiDO-2R-12G receiver offers two independent channels of LC Fiber to 12G-SDI conversion. Both new models feature industry-wide compatibility with OG-X-FR, OG-3-FR, and DFR-8321 openGear frames, with a compact form factor allowing up to 10 cards per frame. AJA’s OG-FiDO 12G cards are hot-swappable, support HDR video, and feature automatic detection and reclocking. Support for Ross DashBoard software enables convenient remote status monitoring on a Windows, macOS, or Linux computer on a local network. All models are backed by AJA’s industry-leading support and a five-year warranty.
In addition to the new OG-FiDO 12G cards, AJA has also released a collection of new firmware updates for select AJA openGear card models, including OG-ROI-HDMI, OG-ROI-DVI, OG-ROI-SDI, OG-HA5-4K and OG-12GM. OG-ROI-HDMI v1.3.2, OG-ROI-DVI v1.3.2 and OG-HA5-4K v1.5.3 introduce Extended Display Identification Data (EDID) emulation, enabling the user to specify the desired video format to the connected HDMI source. OG-HA5-4K v1.5.3 and OG-12GM v1.1.2 adds simple frame rate conversion capabilities from p60 to p59.94 and p59.94 to p60. For the latest audio workflows, OG-HA5-4K v1.5.3 adds support for embedded audio pass-through of Dolby Digital and Dolby Digital Plus compressed audio, including Dolby Digital Plus JOC (joint object coding) for immersive audio. The new OG-12GM v1.1.2 firmware update also introduces PsF support for inputs and outputs. Additionally, OG-ROI-SDI v1.2.1 adds a fix for enhanced performance.
Pricing and Availability
OG-FiDO-R-12G-ST and OG-FiDO-2R-12G are now available through AJA’s worldwide reseller network for $945 and $1395 US MSRP, respectively. OG-ROI-HDMI v1.3.2, and OG-ROI-SDI v1.2.1, OG-HA5-4K v1.5.3, and OG-12GM v1.1.2, updates are now available as free downloads from AJA’s support page. For more information on AJA’s full lineup of openGear solutions, visit: https://www.aja.com/family/opengear.
About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
June 3, 2021
AJA Releases Mini-Config v2.26.2
Grass Valley, CA (June 3, 2021) – AJA Video Systems has released Mini-Config v2.26.2, a free software update that introduces a host of new features for select AJA 12G-SDI, 4K/UltraHD and other Mini-Converter models, including Region of Interest scan converters.
Mini-Config v2.26.2 introduces Extended Display Identification Data (EDID) emulation for all HA5-12G models, HA5-4K, HA5-Plus, ROI-DP, ROI-DVI, and ROI-HDMI, enabling the connected source to continuously output the desired video format. For pristine-quality audio workflows, the update extends pass-through support and compatibility with Dolby Digital Plus JOC (joint object coding) for HA5-4K and all HA5-12G models. Mini-Config v2.26.2 also delivers p60 to p59.94 and p59.94 to p60 simple frame rate conversion for 12GM, HA5-12G, HA5-4K, and HA5-Plus; loss of input management capabilities for the UDC and FS-Mini; and PsF support for 12GM, HA5-12G and Hi5-12G models.
“AJA’s robust, production-proven lineup of Mini-Converters offers unprecedented workflow flexibility across a wide range of production environments, and with the new Mini-Config v2.26.2 update, we’ve introduced a selection of critical features that further streamline workflows and help users produce and deliver the highest-quality video and audio for a seamless audience experience,” shared Nick Rashby, President, AJA Video Systems.
Pricing and Availability
Mini-Config v.2.26.2 is now available as a free download from AJA’s website: www.aja.com/products/mini-config-software. For more information on AJA’s full lineup of Mini-Converters, visit: www.aja.com/family/mini-converters.
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About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
May 25, 2021
ARRI expands the Franz Wieser Grant program
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May 25, 2021; Burbank – Long a champion of supporting and promoting talented filmmakers, ARRI is pleased to expand the Franz Wieser Grant program beyond feature-length films, shorts, and documentaries. The program, which is open to filmmakers across the continental United States, subject to an application and approval process, will now be available to creatives in photography, live events, worship, and broadcast projects.
Created in 2013, the Franz Wieser Grant program gives qualified emerging filmmakers access to education and the opportunity to use ARRI’s award-winning products complimentary. Since its inception, the program has worked with a diverse range of talented filmmakers throughout the continental United States to offer creatives the resources they need to help bring their vision to life. Past recipients of the Franz Wieser Grant program have gone on to be recognized for their outstanding films. Some of these
include:
• Elizabeth Lo, Director and Cinematographer of “Stray.” Nominated for two Cinema Eye Honors Awards, including Outstanding Achievement in a Debut Feature Film and Outstanding Achievement in Cinematography, along with a Critics' Choice Documentary Awards nod for Best First Documentary Feature.
• Star Victoria, Director of “La Ruta.” DGA Jury award-winner for Best Woman Student Filmmaker in West Region.
• Brenna Malloy, Writer and Director of “Rocket.” 2016 Student Academy Award® and screened at more than 40 festivals in eight countries.
Last year, in collaboration with ARRI Rental US and Illumination Dynamics, ARRI expanded the grant program committing to provide the equivalent of up to $200,000 value in equipment to support talented, underrepresented filmmakers.
“At ARRI, we are committed to helping the next generation of filmmakers through education and support programs like the Franz Wieser Grant program. Last year, we expanded the program to further concentrate our efforts on supporting talented filmmakers that were looking for that stepping stone needed to launch their careers and now by expanding the number of qualified categories, and expanding the offerings of equipment, we hope to foster even more new talent,” says Peter Crithary, Vice President of Marketing and Market Development at ARRI, Inc.
Those interested in participating are required to submit an application to be considered for the grant program. The application process is open year-round, with projects selected several times each year. Projects are chosen by the grant committee and may be selected based on the details of the production proposal, script, visual style, concept, and more. Each qualified project receives support with a bespoke equipment package that may include the ARRI AMIRA, ALEXA Mini, Signature Prime lenses, ARRI LED lights including L-Series, SkyPanel, and Orbiter.
“Our goal is to challenge and inspire filmmakers to create the best projects they possibly can. We encourage you to submit your production proposal with as many details as npossible and wish you the best of luck,” says Ksenia Lappo, Chair of the Franz Wieser Grant program.
For more information on the program and past recipients, please visit our website: www.arri.com/franz-wieser-grant-program. The program is currently available in the United States only.
About Franz Wieser:
Franz Wieser was the inspiration behind the grant program and an important figure at ARRI for nearly 30 years. Born and raised in Rosenheim, Bavaria, Germany, Franz first joined ARRI as an intern in the United States. Over a career that spanned 25 years, Franz built a reputation as a kind visionary, eventually becoming ARRI Inc.'s Vice President of Marketing. Franz was a significant force behind the industry's transition from film to digital and was responsible for greenlighting the original AMIRA Grant program. Franz passed away in 2019, but the grant program in his name will continue to honor his legacy of empowering filmmakers.
About ARRI:
“Inspiring images. Since 1917.” ARRI is a global player within the motion picture industry, employing around 1,200 staff worldwide. Named after its founders August Arnold and Robert Richter, ARRI was established in Munich, Germany, where the headquarters is still located today. Other subsidiaries are in Europe, North and South America, Asia, and Australia. The ARRI Group consists of the business units Camera Systems, Lighting, and Rental, all dedicated to connecting creativity and future technologies for moving images. ARRI is a leading designer and manufacturer of camera and lighting systems as well as system solutions for the film, broadcast, and media industries, with a worldwide distribution and service network. The portfolio includes digital cameras, lenses, camera accessories, archive technologies, lamp heads, and lighting accessories. Along with offering exclusive technologies, ARRI Rental's first-class services and equipment provide camera, lighting, and grip packages to professional productions around the world.
The Academy of Motion Picture Arts and Sciences has recognized ARRI's engineers and their contributions to the industry with 19 Scientific and Technical Awards.
For locations and more information, please visit www.arri.com.
April 22, 2021
Four New Focal Lengths Added to the ZEISS Supreme Prime Radiance Family
New Lenses for Artistic Imagery – with an Unmistakable Look and Consistent Flares
ZEISS has added four new lenses to the ZEISS Supreme Prime Radiance family launched in 2019. The 18 and 135 millimeter focal lengths add telephoto and wide-angle specialties to the seven focal lengths available to date. The new 40 and 65 millimeter lenses enhance the standard range, meaning that the ZEISS Supreme Prime Radiance family, as a self-contained series, now covers all possible applications for high-end film production. With a maximum aperture of T1.5, all eleven focal lengths stand out for their high speed and allow the finest nuances of light to be perceived, even in low-light conditions.
ZEISS Supreme Prime Radiance lenses offer a distinctive look with consistent flares that can be controlled at all times and used without compromise. The ZEISS T* blue coating was developed especially for this series to allow users to create this look across all focal lengths – without having to sacrifice contrast or light transmission.
“The ZEISS Supreme Prime Radiance lenses began as a variant and complement to our existing ZEISS Supreme Prime lenses and have now evolved into a high-end cine set in their own right,” explains Christophe Casenave, responsible for the cine portfolio at ZEISS, adding, “their sophisticated, artistic design has been so well received by the cine community that we are proud to expand the line with four new lenses, offering a comprehensive set of focal lengths for all kinds of artistic demands in cine productions.” These include everything from blockbusters to auteur films to the new era of cinematic episodic television produced by streaming providers.
Among the first to use ZEISS Supreme Prime Radiance lenses was Emmy® award-winning Director of Photography (DOP) Dana Gonzales, ASC. For the fourth season of the iconic series Fargo, it wasn’t just the costume design, production design, and color palette that had to convey the look of the 1950s, but above all, the visual imagery. To portray this Kodachrome look, the ZEISS Radiance lenses worked perfectly for him.
Thanks to their versatile visual look, which is characterized by an extremely smooth transition between in-focus and out-of-focus areas and elegant bokeh, the lenses can be used in a flexible manner and for every artistic need. According to Gonzales, it is the pleasant softness that particularly sets ZEISS Supreme Prime Radiance lenses apart: “I use quite a bit of diffusion, but they are still very sharp with a soft fall-off, reminiscent of vintage lenses. I always embrace them and love the organic way the Radiance captures them. The flares always feel right and not forced.” Now, cinematographers can experience even greater creative freedom provided by telephoto and wide-angle focal lengths that are now part of the ZEISS Supreme Prime Radiance family.
Compact Full-Frame Lenses Equipped with ZEISS eXtended Data Metadata Technology
Like the ZEISS Supreme Prime lenses, the ZEISS Supreme Prime Radiance lenses offer all the attributes of a state-of-the-art cine lens – with an image circle diameter of 46.3 millimeters, they cover current large-format cine sensors and are compatible with current camera models such as the Sony Venice, the ARRI Alexa LF and Mini LF, or the RED Monstro. Incorporating a uniform front diameter of 95 millimeters and consistently positioned focus and aperture rings, they feature smooth and reliable focusing, simplifying the task of changing lenses on set. The rugged lenses’ average weight is about 1,600 grams (3.5 lbs).
The lenses are equipped with the ZEISS eXtended Data metadata technology launched in 2017, meaning they provide frame-by-frame data on lens vignetting and distortion in addition to the standard metadata provided by Cooke’s /i technology1 protocol. This simplifies and speeds up workflows, particularly for VFX and virtual production.
Availability
The new ZEISS Supreme Prime Radiance focal lengths are now available for purchase as a set of four lenses from ZEISS cine lens dealers. On the occasion of the presentation of the new focal lengths, it is once again possible to order the previous set of seven lenses or to exclusively purchase a complete set consisting of all eleven lenses.
Deliveries will start in Q3, 2021.
For more information, please visit www.zeiss.com/cine/radiance.
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1: /i is a registered trademark of Cooke Optics Limited used with permission.
April 21, 2021
OWC Announces Innovative Storage and Connectivity Solutions For New iPad Pro and iMac
Expand your storage and connectivity capabilities with a wide range of products from OWC
OWC®, the premier zero-emissions Mac and PC technology company, and a respected provider of Memory, External Drives, SSDs, Mac & PC docking solutions, and performance upgrade kits, announces storage and connectivity solutions product line up for the new Apple iPad Pro and iMac models.
When it comes to the new iPad Pro, OWC has some fantastic storage solutions. The OWC Envoy Pro FX universal compatible Thunderbolt and USB Portable SSD is a top choice and answer for external iPad Pro storage. With speeds ranging up to 2800MB/s, the OWC Envoy FX is built like a tank with dust/drop/waterproof certification. You can transfer gigabytes of data in seconds anywhere, making it the perfect solution for iPad Pro with Thunderbolt and USB-C iPad models as well.
For connectivity, OWC offers a range of dock and cable solutions to help you build the perfect on-the-go or at-home workstation for iPad Pro. For the complete connectivity solution, OWC has you covered with the OWC Thunderbolt Dock. With the OWC Thunderbolt Dock, you can now have four Thunderbolt ports, plus four USB ports, as well as an SD reader, Gigabit Ethernet, and a combo audio in/out. You gain convenient access for all of your essential Thunderbolt and USB devices through a single cable to your iPad Pro. The OWC Thunderbolt Hub expands the number of Thunderbolt ports available on an iPad Pro. Through a single Thunderbolt port, you can connect and charge any device with a USB-C or USB-A connector with this compact hub. The OWC USB-C Travel Dock E reduces the hassle of adapter and dongle heft while expanding your connectivity options with six essential ports: USB 3 Type-A, HDMI 2.0, SD card reader, and all new Gigabit Ethernet, and USB-C 100W power pass-through. The compact OWC USB-C Travel Dock E lets you transform any location through its integrated USB-C connecting cable, be it a studio, classroom, boardroom, or coffee shop, into a mobile office. Now that you have all of these connections, you will need cables, and OWC has you covered with the OWC Thunderbolt 4 / USB-C Cable. It is a plug-and-play solution that connects your accessories, drives, phone, cameras, displays, and more.
When it comes to storage and connectivity for the new iMac, OWC has you covered, offering some of the most innovative solutions. For storage, The OWC Envoy Pro FX was made for super-fast file transfers taking advantage of Thunderbolt/USB 4 connectivity on the new iMac. The OWC Mercury Elite Pro Dock is the perfect centerpiece for the new iMac. With dual drive bays and seven connectivity ports, including an SD 4.0 card reader, the OWC Mercury Elite Pro Dock is the do-it-all tool that will organize your digital life. You'll have plenty of room to duplicate footage, create and manage archives, or render and process effects. Connect your favorite peripherals via USB ports. Ingest the day's shoot or drone footage with the frontside reader. When it comes to connectivity for iMac, The OWC Thunderbolt Dock, OWC Thunderbolt Hub, and OWC Thunderbolt 4 / USB-C Cable are solid solutions for expanding your workflow by adding more connections to get the job done and do more.
"As a leader in Thunderbolt integration and accessories, OWC is proud to offer these innovative solutions for the new iMac and iPad Pro.", said Larry O'Connor, CEO, and Founder of OWC. "In addition to giving users the ability to expand the number of Thunderbolt ports they have access to, the new ability to create separate chains and connect more devices from individual computer ports will revolutionize workflows for on the go or working from home."
Pricing & Availability
The OWC Thunderbolt Dock is available now, starting at $169 on MacSales.com
The OWC Thunderbolt Hub is available now, starting at $149 on MacSales.com
The OWC Thunderbolt 4 / USB-C Cable is available now on MacSales.com
The OWC USB-C Travel Dock E is available now, starting at $64.99 on MacSales.com
The OWC Envoy Pro FX 240GB to 2TB models is available now starting at $199 on MacSales.com
The OWC Mercury Elite Pro Dock starts at $279 for the 0TB solution, available up to 36TB on MacSales.com
April 15, 2021
OWC Announces Partnership With Acronis
Tech leader to add Acronis cyber protection technology into OWC storage products covering file and folder backups, flexible management, and integrated anti-ransomware
OWC®, the premier zero-emissions Mac and PC technology company, and a respected provider of Memory, External Drives, SSDs, Mac & PC docking solutions, and performance upgrade kits, announces partnership with Acronis, making Acronis True Image OEM software available on OWC storage solutions that include SoftRAID today and will consist of additional or all OWC storage solutions in the future. Integrating best-of-breed backup and recovery with AI-enhanced anti-ransomware technology, Acronis’ solution ensures that a user’s digital life is protected – photos, files, applications, operating systems, and the devices they're on.
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Backing up and protecting data is critically important, yet too often the task falls to the bottom of the to-do list. Acronis True Image OEM is designed to complement a user’s existing workflow. And with modern ransomware targeting backup files and processes, it is the world's first solution to unify backup and anti-ransomware capabilities in one to ensure data is protected from accidents, failures, and cyberattacks.
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From set and forget backups that run at specific times during the day, week, or month to backups created regularly as data changes, Acronis True Image OEM ensures a reliable copy of data is available for a speedy recovery. If an issue occurs, restores of individual files or the entire system can be handled in just a few clicks.
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"OWC has partnered with Acronis to bring the number one personal backup software to your workflow along with industry-leading antimalware protection," said Larry O'Connor, CEO and Founder of OWC. "Adding Acronis True Image Technology to our OWC storage solutions is truly amazing. This partnership will tremendously add to our customers feeling their data is safe and protected for years to come."
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The solution unites backup with AI-enhanced anti-ransomware technology, called Acronis Active Protection, which constantly monitors the system with behavioral heuristics to detect and stop ransomware and cryptojacking attacks in real-time. Acronis Active Protection continuously observes patterns in how data files change on a system, distinguishing between typical, expected behavior and those patterns that may signal hostile actions. The integrated solution is proven effective, stopping more than 600,000 ransomware attacks last year and topping testing by independent cybersecurity labs.
Acronis True Image OEM Highlights
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Easy: Protect everything – photos, videos, files, applications, systems, and the devices they’re on in just a few clicks
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Efficient: Create “set and forget” backups, while recovering and restoring files and folders quickly
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Secure: Stop ransomware and cryptojacking attacks from harming device data, backup files, and the application itself
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Upgrade option: Move to the full version of Acronis True Image and future versions to unlock additional cyber protection features at special discounted rates.
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“The partnership between OWC and Acronis is a match made in heaven as the world’s only personal cyber protection solution Acronis True Image is now available pre-installed on the industry leading OWC storage solutions including SoftRAID,” said Alexander Pantos Senior Director WW Prosumer Channel Development. “Allowing OWC’s creative pros to use one solution to secure all their valuable data across all their devices – regardless of the platform – through a single pane of glass. Acronis True Image complements macOS Time Machine and Windows Restore functionality, and gives Parallels Desktop users the fastest, most efficient way to back up and secure their virtual machines. OWCs customers gain peace of mind that their data is safe and secure with proven Acronis cyber protection.”
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Pricing & Availability
Acronis True Image OEM is available with the purchase of OWC storage solutions on MacSales.com. Acronis True Image Essentials, Advanced and Premium Editions as individual purchases are also available on MacSales.com.
April 12, 2021
AJA Adopts NVIDIA Jetson and CLARA AGX to Provide AI-Driven Developer Solutions
Integration introduces powerful tool set for OEM developers to build real-time AI and advanced image, video, and signal processing and streaming solutions for a range of markets
Grass Valley, CA – AJA Video Systems today announced AJA Software Development Kit (SDK) support for the NVIDIA® Jetson™ platform for edge AI, and the NVIDIA Clara AGX™ developer kit, which provides real-time artificial intelligence (AI) and imaging for medical devices. With the AJA SDK supported on both the Jetson edge AI platform and Clara AGX developer kit, OEM developers can intuitively harness supported AJA KONA and Corvid PCIe I/O solutions to develop robust, real-time AI and video imaging and streaming systems and devices that support 8K and 4K video capture and playback for a range of applications in healthcare, broadcast, virtual production, and beyond.
An AI computing platform for GPU-accelerated parallel processing in embedded solutions, Jetson allows developers to envision powerful autonomous systems. Built on NVIDIA Jetson AGX Xavier, Clara AGX provides developers with an AI computer and software development framework for building AI medical devices that feature advanced image, video, and signal processing – from endoscopes to advanced surgical displays and more. With AJA SDK support for Jetson and Clara AGX, OEM developers using either can easily build AJA KONA 5, KONA HDMI, and Corvid 44 12G into their solutions to ensure reliable, high quality UltraHD/HD I/O. The integration also delivers AJA KONA 5, KONA HDMI and Corvid 44 12G compatibility for NVIDIA GPUDirect® RDMA. Incorporated into the Clara AGX developer platform via an integrated NVIDIA Quadro RTX™ GPUDirect RDMA GPU, the technology provides a direct path for data exchange between the GPU and AJA I/O solutions to ensure low latency and high throughput. AJA anticipates launching Clara AGX and Jetson support for additional AJA I/O solutions in the future.
“AI technology is accelerating innovation across business verticals from medicine to media and entertainment and beyond, and is an area that AJA is exploring,” shared Bill Bowen, CTO, AJA. “By working with NVIDIA to integrate the Jetson edge AI platform and Clara AGX developer kit with the AJA SDK, our latest collaboration provides OEM developers with a solid foundation to more quickly and easily bring game-changing AI imaging and streaming solutions to market that support ultra high resolution video.”
About AJA KONA 5
KONA 5 is a blazingly fast I/O card designed for today’s most demanding video and audio workflows, whether working with 8K/UltraHD2, 4K/UltraHD, 2K/HD, SD, Deep Color, HFR and/or HDR. Supporting 10-bit 4:2:2 and 12-bit 4:4:4 color spaces for pristine imagery, KONA 5 provides the flexibility to ingest and output with 12G/6G/3G-SDI and monitor with a full-size HDMI 2.0 port. The bidirectional 12G-SDI ports provide immense flexibility for capture and simultaneous pass through, and with the appropriate software, multi-channel capture and streaming. For HDR workflows, KONA 5 supports VPID signaling for SDR/HDR Transfer Characteristics, Colorimetry and Luminance via SDI and HDR10, HDR 10 + and HLG for rich color delivery over HDMI 2.0. Dolby Vision. www.aja.com/products/kona-5-oem
About AJA KONA HDMI
KONA HDMI is a professional quality multi-channel HDMI capture card that packs a punch with advanced power and flexibility. Designed to meet the demands of a variety workflows such as gaming, streaming, VJ-ing, live events switching, vlogging, VR, post and broadcast, KONA HDMI boasts support for dual channel capture up to 4K/UltraHD 60p or four channel capture up to 2K/HD 60 and HDR video and metadata capture. KONA HDMI is also supported by both the AJA SDK as well as Video for Linux®, bringing developers multichannel HDMI ingest, switching, monitoring, and communication. www.aja.com/products/kona-hdmi
About AJA Corvid 44 12G
Corvid 44 12G is AJA’s compact 8-lane PCIe 3.0 I/O card with four bidirectional 12G-SDI HD-BNC connections, designed for today’s most demanding video and audio workflows. Corvid 44 12G is available in several configurations, including full-height or low-profile, with passive or active cooling. www.aja.com/products/corvid-44-12g
March 31, 2021
OWC Celebrates World Backup Day 2021
Today World Backup Day, the day we advise the world to back up their devices regularly. OWC is reminding everyone to back up their data. If you haven't lost data from an electronic device yet, you will. Having a backup means essential data and memories are retrieved quickly. There's no need to worry about a hard drive failure or physical loss of your devices to theft or damage. No backup? That information is gone forever. Rather than go in-depth on various backup strategies, our goal today is to demonstrate the quickest, least-hassle ways to back up Macs, iPhones, iPads, and iPod touch.
Below you will find some of OWC's best solutions for backing up your files and more.
OWC Copy That
Whether you are a hobbyist out in the field taking nature photos, an influencer shooting daily videos, or a parent capturing that special family event, Copy That helps you free up internal storage space while protecting your valuable content. The process is simple: Connect your iPhone or iPad to an external drive. Select the media you want to copy and how you want to copy it. Then click the "Copy That" button, and you're done.
The new Mercury Elite Pro mini with USB-C is engineered to keep pace with your production schedule, from the studio to the office and everywhere in between. With bus-powered, plug-and-play connectivity, you can ditch those adapters, grab, share, and present your work in progress. In addition to USB Type-C connectivity, Mercury Elite Pro mini is also fully compatible with USB-C and Thunderbolt 3 Macs and PCs and iOS, Android, and Chrome OS devices.
OWC Envoy Pro Elektron
Since the earliest days of mobile computing, there's been a standard user desire mantra: "make it smaller, faster, lighter, and rugged." Pocket-sized tiny, crushproof, dustproof, and waterproof Envoy Pro Elektron puts massive-sized personal and work files in the palm of your hand while pushing USB-C's bandwidth to the max so you can edit and save wherever, whenever with virtually any Mac or PC.
OWC Envoy Pro FX
The first portable SSDs on the market were one small step in mobile storage advancement, often with limited capacity, speeds, and reliability. The Envoy Pro FX is one giant leap For All Computerkind™. The Envoy Pro FX portable SSD provides out-of-this-world performance and is the first of its kind universal Thunderbolt drive to work via USB-C and USB-A. Plug it into yesterday's and today's Thunderbolt and USB-equipped Macs and PCs. Plug it into tomorrow's Thunderbolt 4 and USB4 machines. You can even plug it into iPad Pro, Chromebook, and Surface devices. Imagine never having to worry about your external drive interface or compatibility!
March 30, 2021
AJA Releases BRIDGE LIVE v1.11
Update Delivers New Enhancements for AJA’s UltraHD/Multi-Channel HD Contribution, Streaming and Delivery Solution
Grass Valley, CA – AJA Video Systems today released BRIDGE LIVE v1.11 for its high-performance UltraHD or multi-channel HD encoding, transcoding, decoding and contribution solution. The update introduces new functionalities including HLS input, VBR low latency, E-AC3 input, and numerous user experience upgrades for efficiently managing pipelines.
Developed in partnership with Comprimato, BRIDGE LIVE is a turnkey 1RU solution that makes it easy to move UltraHD or multi-channel HD video between uncompressed baseband SDI to/from a wide range of contribution, delivery and streaming codecs (H.265, H.264, MPEG-2 and JPEG 2000). BRIDGE LIVE v1.11 delivers a host of new features, including HLS input functionality for receiving HLS streams and bringing them into SDI baseband productions. HLS input supports both AVC TS segments for H.264 and the newly emerging fragmented MP4 standard for H.265/H.264. New VBR implementation allows for lower latency presets with algorithmic intelligence, and a new E-AC3 input supports Dolby Digital workflows. Additionally, pipeline upgrades include co-existence of different time bases, more efficient tools for managing presets, and REST API enhancements allowing calls for individually starting and stopping pipelines.
“HTTP Live Streaming (HLS) is one of the most widely used streaming protocols in the industry. Introducing new HLS input capabilities to BRIDGE LIVE is a highly sought after feature, enabling users to integrate high-quality HLS contributions into SDI ecosystems,” stated Nick Rashby, President, AJA Video Systems. “BRIDGE LIVE v1.11 delivers new features that build on its robust, enterprise-level video processing power to further empower and simplify contribution and streaming workflows.”
Pricing and Availability
BRIDGE LIVE v1.11 is available now for download from AJA’s website. The latest update comes standard with all newly purchased BRIDGE LIVE units and is also available to existing users with an active maintenance agreement. Customers without a maintenance agreement can access bug fixes within v1.11 but will not receive new feature access. BRIDGE LIVE is available through AJA’s worldwide reseller network starting at $14,995 US MSRP. For more information, visit: www.aja.com/products/bridge-live.
About BRIDGE LIVE
Developed in cooperation with streaming software experts Comprimato, BRIDGE LIVE is a turnkey solution built for critical streaming and contribution applications with high performance 12G-SDI video encoding/decoding, stream-based transcoding, with flexible 12G-SDI I/O, comprehensive metadata and closed caption support, all within a compact 1RU form factor with redundant power supplies. www.aja.com/products/bridge-live.
About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
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March 2, 2021
AJA Releases Desktop Software v16
Free Update Introduces HDR Signaling over SDI, Expanded IP Video Support and Increased Hardware Compatibility for KONA, Io and the new T-TAP Pro
Grass Valley, CA – AJA Video Systems has released Desktop Software v16, a free update that introduces powerful new features to AJA’s lineup of KONA, Io and T-TAP products, such as High Dynamic Range (HDR) signaling over SDI, expanded IP video functionality, support for the just announced T-TAP Pro Thunderbolt™ 3 output device, and increased compatibility with the latest hardware and operating systems.
Desktop Software v16 includes compatibility updates for the latest macOS®, Windows® and Linux® operating systems, including support for macOS 11.x Big Sur, Ubuntu 20.04 LTS, Redhat/CentOS 8 and continuing support for Windows 10 updates. Desktop Software v16 enhances and expands support for high-end computer hardware, including certified compatibility of AJA PCIe cards and Thunderbolt devices with the 2019 Mac Pro and AJA PCIe card support for Supermicro X11DAI, X11SPA+TF and X11DPG. For IP video workflows, v16 also increases compatibility with NMOS compliant devices by updating to NMOS 1.3 and adds improved troubleshooting capabilities with new LLDP support for KONA IP, Io IP and Avid ArtistTM | DNxIPTM.
With Desktop Software v16, HDR over SDI is available on select AJA KONA and Io products, and the new T-TAP Pro device. The included AJA Control Panel software features a redesigned HDR tab, offering controls for HDR to be signaled via both SDI and HDMI simultaneously. New HDR capabilities for AJA Control Room and AJA Control Panel include the addition of HDR metadata capture and HDR auto playback detection for ease of use for critical monitoring applications. To further streamline AJA’s leading 8K workflows, the v16 update also adds KONA 5 8K monitoring and output capabilities for Apple® Final Cut Pro® and Avid® Media Composer®.
Additionally, the new AJA Software Development Kit (SDK) v16 for OEM Developer Partners is also available and targeted at simplifying encoding and high-end 12-bit/HDR workflows. SDK v16 introduces 12-bit workflow enhancements for KONA 5 and Corvid 44 12G, including support for Color Space Conversion and LUTs when working with 12-bit material. New KONA 5 and Corvid 44 12G 8K bit file updates provide developers with access to 3G multi-link options, in addition to 12G, plus new 4:2:0 planar support for encoding solutions, saving time and money through the enablement of direct capture or output of 4:2:0 material without requiring transcoding.
“AJA has the most comprehensive toolset for leading creative software applications, and with our latest Desktop Software v16 update, we’ve continued to add powerful new features that improve the reliability and ease of use of our KONA, Io and T-TAP products. Desktop v16 includes increased hardware compatibility and breakthrough features for creative pros who are working in the latest delivery formats,” said Nick Rashby, President, AJA Video Systems.
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A number of AJA Developer Partners that have built proprietary systems and solutions for broadcast, post and AV applications using products like AJA T-TAP Pro, KONA 5 and KONA HDMI have already begun to take advantage of the new Desktop Software v16 features.
Drastic Technologies CTO James Brooks shared, “Desktop v16, and the SDK version for developers, when integrated with our videoQC and FlowCaster products, allow our customers to transmit full HDR signaling at 4K from anywhere in the world to a local monitor for review. Systems including KONA 5 and KONA HDMI support HDR signaling in, while those with KONA 5 and T-TAP Pro enable HDR signaling out, with auto HDR detection simplifying settings for a more seamless end user experience. KONA 5 and the new T-TAP Pro pair perfectly with our dedicated Intel NUCs, and T-TAP Pro’s incredible output capabilities make it the only mobile device that can handle frame by frame, frame-accurate metadata to nearly any desired monitor.”
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AJA Desktop Software v16 feature highlights include:
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Support for the new T-TAP Pro portable Thunderbolt 3 output device, featuring 12G-SDI and HDMI 2.0 for 4K/UltraHD on macOS and Windows
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Expanded OS compatibility, including macOS Big Sur 11.x, Ubuntu 20.04 LTS, Redhat/CentOS 8, and Windows 10
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Certified compatibility of AJA PCIe cards and Io devices with SuperMicro X11DAI, X11SPA+TF, and X11DPG
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Breakthrough HDR over SDI support; VPID signaling is now available for SDR/HDR transfer characteristics over SDI on KONA, Io, and T-TAP Pro
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HDR metadata/transfer characteristics for capture and auto playback detection
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New 8K optimizations for capture/playback on macOS, Linux and Windows, including KONA 5 8K support in Apple Final Cut Pro and Avid Media Composer
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4K closed captioning support in AJA Control Room on KONA 4, 5, Io 4K Plus, and T-TAP Pro
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ST 2110 updates on KONA IP and Io IP; NMOS update to 1.3 and LLDP support
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Expanded functionality on AJA NMOS application
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Dynamic FPGA firmware reconfiguration, providing rapid firmware switching
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AJA SDK v16 feature highlights include:
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8K bitfile updated; added quad- and dual-link I/O via 3G-SDI and 1.5G-SDI (multi-link I/O) for 4K to the 8K bitfiles for KONA 5 and Corvid 44 12G
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New 4:2:0/4:2:2, 8-bit/10-bit, 3-planar I/O, for integrating SDI 4:2:2, 10-bit I/O with 4:2:0-based encoders/decoders (8-bit or 10-bit)
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New 12-bit workflow enhancements for KONA 5 and Corvid 44 12G
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New custom HANC playout capability with KONA 5 and Corvid 44 12G
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Pricing and Availability
AJA Desktop Software v16 and SDK v16 are now available as a free download from AJA’s support page.
About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
All trademarks and copyrights are the property of their respective owners.
March 2, 2021
AJA Announces T-TAP Pro
Compact Thunderbolt™ 3 Device Supports up to 4K/UltraHD Output over 12G-SDI and HDMI 2.0, Empowering Video Professionals to Produce High-End Content from any Location
Grass Valley, CA - AJA Video Systems has unveiled T-TAP Pro, a compact, silent, and portable Thunderbolt™ 3-connected device that simplifies 4K/UltraHD and 2K/HD/SD monitoring and output over 12G-SDI and HDMI 2.0 on compatible Mac® or PC computers. Ideal for a range of production scenarios, T-TAP Pro provides high-quality video monitoring, including High Dynamic Range (HDR) support for high frame rate (HFR) and large raster workflows from a Thunderbolt 3 host system.
“T-TAP Pro was developed for production professionals who require the highest quality video output wherever they’re working,” explained Nick Rashby, President, AJA Video Systems. “This robust and powerful device enables monitoring and output of high bandwidth 4K/UltraHD and pristine HDR content directly from your laptop or desktop computer, with the power and convenience of a single Thunderbolt 3 cable.”
T-TAP Pro is a versatile monitoring and output device suitable for high-end color grading, audio mixing, editorial and visual effects, in addition to on-set monitoring and playback, that enables creative professionals to work efficiently from home or any location. Compact, portable, silent, and reliable, T-TAP Pro powers high-quality HDR and HFR video monitoring up to 4K/UltraHD over 12G-SDI and HDMI 2.0 from any supported Thunderbolt 3-enabled Mac or PC. T-TAP Pro features extensive compatibility with popular creative applications for editorial, graphics, effects, color, and streaming, including Apple® Final Cut Pro®; Adobe® Premiere® Pro, After Effects®, Audition®, and Character Animator®; Avid® Media Composer® and Pro Tools®; and more. For audio workflows, T-TAP Pro features multi-channel embedded audio on SDI and HDMI, and a 3.5mm stereo analog audio connection that provides a convenient method for monitoring audio, enabling editors or digital artists to plug in headphones directly to the device or connect to an external analog audio mixer.
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AJA technology partners, including Colorfront, have already begun work to deliver T-TAP Pro support across popular broadcast, post and proAV solutions. With T-TAP Pro support coming for Colorfront Express Dailies, Colorfront On-Set Dailies, Colorfront Transkoder and Colorfront Streaming Player, Bruno Munger, Director of Business Development, Colorfront shared, “AJA’s new T-TAP Pro arrives at the perfect time, bringing great value to production and post professionals with an in-demand feature set and compact form factor. It delivers the advanced, high-end connectivity that our customers require when using our professional streaming player and other solutions on both laptops and small desktop computers.”
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T-TAP Pro feature highlights include:
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Compact Thunderbolt 3 video and audio output
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Silent-running designed-in for critical monitoring environments such as audio mixing, screenings or on-set
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12G-SDI and HDMI 2.0 connectivity for working with 4K/UltraHD over a single cable, with simultaneous output on both connections
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Support for up to 4K/UltraHD/HD output over SDI and HDMI up to 60p
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10- and 12-bit uncompressed quality
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HDR support for Hybrid Log Gamma (HLG) and HDR10, as well as Dolby Vision™ via the AJA Software Development Kit (SDK); HDR signaling over both HDMI and SDI
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Thunderbolt 3 single-cable connectivity on Mac and PC
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16-channel embedded SDI audio output
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8-channel embedded HDMI audio output
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Front panel audio levels reference display
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2-channel 3.5mm headphone output with rotary knob adjustment
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Broad application compatibility, including Apple Final Cut Pro, Adobe® Creative Cloud®, Avid Media Composer and Pro Tools, and much more
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Included power supply
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Three-year international warranty
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Pricing and Availability
T-TAP Pro is now available for $795 US MSRP through AJA’s worldwide reseller network. For more information, visit: www.aja.com/products/t-tap-pro.
About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
All trademarks and copyrights are the property of their respective owners.
February 18, 2021
OWC Announces The Only Universal and Fully Compatible Thunderbolt 4 / USB-C Cable You Will Ever Need
One cable that can do it all - 100% compatible and certified reliable solution for interconnecting devices, and hundreds of millions of Thunderbolt 4, Thunderbolt 3, USB-C, and USB4 equipped Macs, PCs, tablets, and phones
OWC®, the premier zero-emissions Mac and PC technology company, and a respected provider of Memory, External Drives, SSDs, Mac & PC docking solutions, and performance upgrade kits, announces its next-generation connectivity solution, the OWC Thunderbolt 4 / USB-C Cable. Whether connecting accessories, power, video or even networking the OWC Thunderbolt 4 / USB-C Cable is universal for everything making it the only cable you will ever need. Connecting with USB-C on both ends, this cable is safe, certified, and always reliable for Thunderbolt 4, Thunderbolt 3, USB 4, USB 3.2, USB 3.1, USB Power, Video, etc. And you get 100% of both the maximum power allowed and the full data capability supported from/between any USB-C port-equipped device and host.
No matter what kind of device or power level; be it a Mac, PC, tablet, or mobile device, the OWC Thunderbolt 4 / USB-C Cable never lets you down for your USB-C to USB-C connectivity needs. Contrast this with USB-type cables, which often carry no certification, have more limited and varying data speeds, and are not all rated and safe for the power level a system can demand. OWC Thunderbolt 4 cables take all the guesswork out for your USB-C to USB-C connectivity needs. Full certification for power and data capabilities provides peace of mind and ensured reliability regardless of what you need connecting.
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From our research and first-hand experience, USB-C to USB-C cables are among the largest causes of technical support headaches. While many USB-C to USB-C cables 'look' and feel of quality, even being the highest quality USB cable doesn't mean it supports Thunderbolt or even high-speed USB-C 5Gb/s or 10Gb/s needed for modern USB-C docks and drives. This causes frustration, lost time, and lost productivity as devices fail to operate correctly, if at all, and with no apparent reason to the end-user. Using some USB cables for power connections is even dangerous when overpowering can risk excessive heat or worse.
"With the OWC Thunderbolt 4 / USB-C Cable, you never have to worry or wonder if you have the right cable because it's a perfect cable for all of your C-to-C connectivity needs," said Larry O'Connor, Founder, and CEO of OWC. "If it fits your ports, it 100% does support. No other USB-C cable, other than one that is Thunderbolt 4 certified, can make this claim. As I introduce these new cables to individuals and groups, I can't tell you how many people have said they will be cutting all their other USB-C cables. Incorrect cable use is a real issue and headache we are excited to have solved."
OWC Thunderbolt 4 / USB-C Cable Highlights
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100% USB-C Compatible: connect to today’s, tomorrow’s, and yesterday's Macs, PCs, iPads, Chromebooks, Surface and other devices with a Thunderbolt 4, Thunderbolt 3, USB-C, or USB4
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Certified for All Uses: enjoy lab test certified safe power delivery up to 100W of power, up to 40Gb/s of data performance, and up to 8K of video capability
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Versatile Connections: connect any drive, dock, display, eGPUs, PCIe expansion, external SSDs, RAID storage, Power adapters, accessories, anything that goes USB-C to USB-C
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Powerful: Certified safe delivery of up to the maximum 100 watts of power/charging from docks, adapters, and other devices that USB-C and Thunderbolt support.
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Stunning visuals: connect up to 4K, 5K, 6K and 8K Thunderbolt or USB-C display
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Guaranteed quality: 3 Year OWC Limited Warranty
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Pricing & Availability
The OWC Thunderbolt 4 / USB-C Cable is available now for $27.99 in 0.8 m length on
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January 14, 2021
AJA Releases Two New 12G-SDI openGear® Solutions
OG-12GM enables 12G-SDI to/from quad-link 3G-SDI Muxing/deMuxing;
OG-FiDO-TR-12G provides 12G-SDI to/from fiber conversion with single-link LC connectivity
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Grass Valley, CA – AJA Video Systems today announced the release of two new 12G-SDI openGear® solutions, AJA OG-12GM and AJA OG-FiDO-TR-12G. Featuring support for up to 4K/UltraHD content, OG-12GM is a 12G-SDI to/from quad-link 3G-SDI Muxer/DeMuxer, and OG-FiDO-TR-12G is a state-of-the-art 12G-SDI/Fiber transceiver. Both are designed for use in high-density openGear 2RU frames and compatible with Ross® DashBoard software for flexible device control and monitoring.
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"As demand for high raster 4K/UltraHD content increases, convenient 12G-SDI solutions are critical to simplifying cabling and transport of high bandwidth content,” said Nick Rashby, President, AJA Video Systems. “In response to industry demand, we’re bolstering our lineup of 12G-SDI workflow tools with the new OG-12GM card and OG-FiDO-TR-12G transceiver, which feature industry-wide compatibility in openGear frames.”
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OG-12GM is an openGear-compatible SDI transport converter that supports single-link 12G-SDI to/from quad-link 3G-SDI, two Sample Interleave (2SI) to/from Square Division (Quadrant) pixel mapping, and selectable Distribution Amplifier (1x4). It provides detailed timing analysis for validating alignment of quad-link SDI inputs via a unique timing analyzer that quickly helps to identify possible timing issues for quad-link signals. Ideal for critical broadcast applications where high-quality conversion and reliability are required, OG-12GM features openGear’s high-density architecture and DashBoard support on Windows®, macOS® or Linux for monitoring and control over a local network or remotely.
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OG-FiDO-TR-12G offers unmatched flexibility and cost-efficiency for 12G-SDI to Fiber conversion and Fiber to 12G-SDI conversion with single-link LC connectivity, enabling long cable runs up to 10km for single mode. OG-FiDO-TR-12G is compatible with all certified openGear products and supports Ross DashBoard software for convenient remote control and monitoring over a PC or local network to further simplify production workflows.
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Pricing and Availability
OG-12GM and OG-FiDO-TR-12G are now available through AJA’s worldwide reseller network for $895 US MSRP, and $1325 US MSRP respectively. For more information, visit: www.aja.com/family/opengear
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About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional broadcast, video and post production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
January 14, 2021
OWC Acquires LumaForge and Jellyfish Technologies
LumaForge to continue as an OWC Company, with team intact, to further expand production and server capabilities, solutions, and line up
OWC®; a leading zero emissions Mac and PC technology company and one of the world’s most respected providers of Memory, External Drives, SSDs, Mac & PC docking solutions, announced today the acquisition of LumaForge, creator of the award-winning family of shared storage Jellyfish solutions and its support of the ultra-reliable video workflow server that connects content creators, editors, colorists, graphic artists, and sound mixers. The Jellyfish product line adoption further establishes OWC as the provider of the most reliable storage workflow solutions available for both existing OWC and LumaForge customers and new.
The LumaForge Jellyfish product family consists of Jellyfish Mobile: The first plug-and-play video workflow server that comes with a handle. Jellyfish Mobile was designed to be on-the-go or, at least, out of the server room. It excels with teams of four to six editors working with 4K media on the road or at the office. Jellyfish Tower: Matches the ease-of-use and plug-and-play magic powers of the Mobile and is as powerful as something you’d find in your server room. It’s quiet enough to stand on its own in your edit bay and powerful enough to take on 6+ editors working with 4K media and beyond. Jellyfish Rack: The most powerful in the lineup plug-and-play solution, intended to live alongside all your other fancy server room equipment. Jellyfish Rack is the preferred solution for ultra-high-bandwidth connectivity (25GbE/50GbE) and can seamlessly merge into the most complex enterprise network environments.All existing customers will be receiving direct communication regarding their support and upgrade paths within the coming weeks.
“I am excited to welcome the amazing LumaForge team and solutions into the OWC Family. This acquisition both strengthens our enterprise/server storage capabilities and enables an even broader lineup of solutions to serve the needs of video, photography, and music professionals with some really exceptional new offerings,” said Larry O’Connor, OWC Founder & CEO. “Jellyfish and LumaForge customers will continue receiving the support and development, while this trusted technology will flourish and have a whole new level of support and engagement within the OWC family.”
“There’s no better home for our team and technology than OWC. A legendary brand with a reputation for great products and support that countless people depend on every day,” said Josh Minney, CEO, LumaForge. “We’ve always admired what Larry and his team have built, and we are all excited to actually be a part of it.”
January 11, 2021
OWC Announces High-Powered 6 Port USB-C Travel Dock E for Macs, PCs, iPads, Tablets, or Phones
The best mini-sized dock to connect, charge, display, network, and import on-the-go through one cable
OWC®, the premier zero-emissions Mac and PC technology company, and a respected provider of Memory, External Drives, SSDs, Mac & PC docking solutions, and performance upgrade kits
announces its next-generation mobile connectivity solution, the OWC USB-C Travel Dock E. It reduces the hassle of adapter and dongle heft while expanding your connectivity options with six essential ports: USB 3 Type-A, HDMI 2.0, SD card reader, and all new Gigabit Ethernet, and USB-C 100W power pass-through. Through its integrated USB-C connecting cable, the compact Travel Dock E lets you transform any location, be it a studio, classroom, boardroom, or coffee shop, into a mobile office. The OWC USB-C Travel Dock E gives you the ability to connect, charge, display, and import at will with USB-C or Thunderbolt 3-equipped computers, tablets, and phones.
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Based on the original award-winning OWC Travel Dock, the new OWC USB-C Travel Dock E offers fast and reliable sharing, streaming, and surfing. Nothing can quash productivity faster than slow, low-quality Wi-Fi, but the OWC USB-C Travel Dock E isn't going to let you down. Its Gigabit Ethernet port has an industry-standard connector so that you can plug in anywhere for a speedy server connection, uninterrupted downloads, and reliable file transfers.
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Unlike other mini docks that sacrifice usability to remain portable, the OWC USB-C Travel Dock E packs a heavyweight punch akin to a desktop dock. This compact dock is about the size and weight of a hockey puck, and it can be used via bus power when you don't have access to an outlet. Or, connect a USB-C power adapter to the OWC USB-C Travel Dock E USB-C power delivery port to charge your device with up to 100W of power on the go or when working from home.
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When finished using the OWC USB-C Travel Dock E, you can safely disconnect it in one click with the free OWC Dock Ejector software. The OWC Dock Ejector was designed by OWC hardware and software engineers to ensure all data is written to one or more connected drives before disconnection, saving time and protecting against data loss.
OWC USB-C Travel Dock E Highlights
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Make a powerful presentation on a 4K HDMI display
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Share, stream, and surf quickly and reliably fast with standard RJ45 Ethernet 1000BT networking
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Transfer files with storage devices in a blink of an eye
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Charge up small mobile devices for on-the-go use
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Ingest photos and movies directly from media cards with the SD card reader
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Enjoy the convenience of a full-sized keyboard or mouse with your notebook
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Connect it to Macs, PCs, iOS, Android, and Chrome devices
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2 Year OWC Limited Warranty and lifetime US-based support  
"We are so proud to keep the OWC Travel Dock product family going strong," said Larry O'Connor, CEO, and Founder of OWC. "The OWC USB-C Travel Dock E is a great update to an award-winning product."
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Pricing & Availability
The OWC USB-C Travel Dock E will be available Q1 2021 in Space Gray for $64.99 at MacSales.com. The customer-favorite and award-winning OWC USB-C Travel Dock continues to be available as well. Users can choose from four colors to best complement their gear and get connected to notebooks, displays, and more as needed on the go. Starting at only $54.99, this Travel Dock is fully compatible with all Thunderbolt 3 equipped Macs & PCs.