Overview and Features

Cinedeck Overview and Features – YOUR WORKFLOW, YOUR WAY

Whether it’s SD, HD, 2K, UHDTV-1 or full 4K,; multi-channel, multi-codec Cinedeck recorder / players provide all the flexibility you need. Working a single-camera shoot or multi-cam live event, creating or changing master deliverable files, managing telecine transfers, archiving and content migration – just about any production or post-production application, Cinedecks deliver unrivaled speed and versatility.


All current Cinedeck models run the same easy-to-use interface and are built around the same video hardware. They are interchangeable, supporting the same workflows for a wide range of production and post production tasks.

Edge Detection

All Cinedeck models offer simultaneous recording of all your master and proxy deliverables to get you to post faster. Local disks, SAN, NAS, etc., your files can be recorded directly to the storage you need to work from. Additionally, redundant recording gives you peace of mind by writing secondary independent files to an additional record destination of your choosing.

For post and finishing workflows, Cinedeck offers cutting-edge, patent-pending technology with File-based Insert Edit that allows you to replace a single frame or multiple frames of video, an audio stem or track, or multiple audio tracks and video simultaneously, in a closed and flattened file on the most popular editing intermediates, including DNxHD, Prores, AVC-I and XDCAMHD.

Read on and discover just a few ways Cinedecks are used in a variety of industry-specific applications. For more information on how Cinedecks can fit your workflow, contact us to speak with one of our product specialists.

Download the FULL BROCHURE


Cinedeck Features (listed alphabetically)

Cinedecks support a broad range of features, many of which carry across between all models.
Follow the links below to each of the features for more information. If you have a question about any of the features or require a capability not specifically addressed, feel free to Contact Us.

The Features List can be found in the Full Brochure. (download here)

4K and UHD


ZX45 supports 4K YUV (4096×2160) and UHDTV-1 YUV (3840×2160) recording while simultaneously writing HD master files, proxy files and streamable H.264 files, all with associated metadata and the file naming you choose, to smooth the process of match-back between the various files. The HD deliverables can be created using any of the appropriate master and proxy codecs on the systems.

ZX45 supports one 4K YUV or one UHD YUV source:

  • 4K / UHD 
  • HD master files HD Proxy files
  • Streamable h.264 files which can be delivered live by a streaming server

Find out more: Cinedeck 4K

AES Audio

Audio AES:

Cinedeck recorders can accept 8 AES audio channels per input pair with the ability to selectively toggle on & off and map the destination channels. All 8 can be received by both video inputs. 

Analog Audio
Analog Audio:

For legacy analog audio situations, Cinedeck supports the Scarlett 2i2 USB audio interface from Focusrite which provides two mic/line balanced XLR / TRS audio inputs through high quality preamplifiers. Additional USB audio adapters with different input choices are being considered for inclusion in the future.

Analysis Tools
Analysis Tools:

Cinedeck decks provide digital peak audio meters, adjustable monitor levels and monitor channel selection as well as a complete set of video analysis tools including:

  • Waveform
  • Vector scope
  • Histogram
  • 1:1 pixel picture zoom
  • Adjustable video peak detect
  • Focus assist
  • User selectable aspect ratio, safe area and grid overlays
Assemble Edit / Pause record
Assemble Edit / Pause Record:

The Cinedeck user interface in later 4.5 releases can very closely mimic and in some ways surpass the assemble editing capability of tape systems. Because of this, Cinedecks are very applicable for tasks such as Live-to-File and compilation recording. All of these Cinedeck recordings result in a single flat file.

  • With “Pause Record”, recording can be temporarily halted and resumed as needed to combine various content into one file. The transitions or edits between sections are clean like an assemble edit. During recording, the operator can press the ‘Pause’ button whenever needed. Recording does not continue but the file remains open. Pause can be released as needed and when the full event has concluded and the user selects Stop, the file is finally closed.
  • “Pause & Seek” is virtually identical to assemble editing. It is based on “Pause Record” but has the added ability for setting an edit-in-point to start the subsequent recording at a timecode point within the already existing content. “Pause & Seek” can be used on several channels simultaneously.
  • While not strictly “assemble recording”, editing to a blacked file is similar to working with a blacked tape but there is the added advantage of having full play access to the file while recording is occurring. Particularly the ability to shuttle or scrub backwards and forwards and review any section, provides complete confidence during a recording.
Audio Delay
Audio Delay:

Version 4.3 includes audio delay in milliseconds which can be added {per channel} to SDI, AES and Analog audio sources. Each channel can be delayed up to 999 milliseconds.

Audio Mapping
Audio Mapping:

Version 4 added the ability to selectively toggle on & off and map the destination channels of incoming audio i.e., a system could be setup to record incoming channels 1 & 2 and 7 & 8 to channels 1, 2, 3 & 4. Audio mapping will be enhanced in future versions of the system software.

AS-02, AS-11 / DPP
AS-02, AS-11 / DPP:

  • AS-02 and AS-11 are MXF Op1a file format recommendations from AMWA – the Advanced Media Workflow Association.
  • AS-02 is specifically oriented towards addressing “the problem of having a common file format in a facility that has to handle many input formats and make many output formats.”
  • AS-11 was further developed to specify “a vendor-neutral subset of the MXF file format to use for delivery of finished programming from program producers and program distributors to broadcast stations” while the UK-DPP (Digital Production Partnership has designed a set of delivery standards, procedures and technical requirements, which conform to the AS-11 v1.0 specification and are constrained in the UK DPP AS-11 shim. Cinedecks running version 4.3 and later software can record AS-02 and AS-11 / DPP compliant MXF content and later versions of the software provide more access for creating and editing the included metadata.

For traditional infrastructure, Cinedecks are connected using industry standard HD/SD-SDI cabling allowing the decks to be easily integrated in place of standard video recorders.


Later versions of Cinedeck 4.5 provide a broad selection of text metadata elements that can be burned into the video image of a file while its recording. Data selection can include any combination of user selectable timecode, system time and date, GPS coordinates*, file name, frame numbers and user defined text. The position, size and color of each element is adjustable. * GPS coordinates require the use of a Garmin model 18x GPS USB receiver.

Channel Overview
Channel Overview:

Version 4.1 added a full ‘Overview’ of the complete state of each channel on a system with the ability to import, export and copy settings between channels.

Character Overlay
Character Overlay:

Cinedecks provide control of character out as an overlay on the user interface and or the SDI video output and or as a burn-in to the encoded video with fully adjustable position, size and color.

  • Channel overlays can be independently setup with different content, character styles, sizes, positions and colors. User selectable content can be included in the different super overlays such as audio meters, timecode, file name, transport status and user defined text.
Closed Captioning
Closed Captioning:

Cinedecks support recording and playback of 708 CC Closed Caption data with any codec wrapped as MOV or one of the MXF Op1a profiles. Typically, captions capture is directed to Line 9 with AFD on line 11. Cinedeck recorders also provide a setting that combines caption and AFD data on line 18.

During ingest, analog 608 captions on line 21 can be converted to 708 digital captions and captured so sources such as Beta SP can be ingested with caption data intact.

Codecs Supported
Codecs Supported:

Cinedeck recorders currently support native SD and HD with the following codecs using a wide choice of bitrates (quality settings) and file wrappers:

  • Apple ProRes
  • AVC-Intra
  • Avid DNxHD
  • Avid JFIF
  • Cineform (optional)
  • DPX
  • DVCProHD
  • H.264 (streamable)
  • IMX (D-10 MPEG)
  • JPEG 2000 (optional)
  • XDCamHD
  • Uncompressed
Color Depth
Color Depth:

All Cinedecks support true 8bit and 10bit inputs and recording.

Color Sampling
Color Sampling:

All Cinedecks support 422 sub-sampling and in some cases 444 recording.

Confidence Recording
Total Confidence Recording:

High end VTRs provide a layer of assurance with their confidence record mode, the ability to display a playback signal off-tape while recording. When using Cinedeck’s Insert Edit capability, it is also possible to leverage Total Confidence Record. Total Confidence Record means you can fast forward, rewind, play and scrub, any portion of a file, on any player, while still recording to that file. Playback can be on another Cinedeck channel or via other file based applications such as QuickTime Player, VLC media player, etc. This allows you to check and double check, any part of a file, anytime, making the QC process much more efficient.

Cross Conversion
Cross Conversion:

All Cinedecks have a wide selection of up and down standards conversion at the input and output which can be combined to provide full cross conversion i.e., up convert SD to HD on record or down convert HD to SD for monitoring, etc…

Edit While Record
Edit While Record:

See “Growing Files”

EDL Auto-record
EDL Auto-record:

Each Cinedeck channel supports auto-record through the use of a simple ASCII text EDL to control the starting and stopping of recording events based on an incoming timecode. Version 4.3 enhanced EDL record with deck control providing tape transport control during auto-record from a VTR. Included in the Cinedeck interface is an EDL editor for creating and modifying EDLs for each channel. Additionally, Cinedecks running the latest 4.3 version or later support importing CMX 3600 EDLs.

Embedded Audio
Embedded Audio:

Cinedeck recorders can accept 16 SDI embedded audio channels per input.

External Reference
External Reference:

  • Cinedecks accept external house reference (Tri-Level sync or Black Burst).
  • The 4 channel ZX models are designed to accept external LTC and house reference for each pair of channels so you can optionally dedicate each channel pair to different tasks.
File Naming
File Naming:

Cinedeck version 4 and later provides an extremely flexible and powerful project based naming system which allows the integration of user entered text and real-time data (wildcard variable substitution) such as the current time or starting timecode in file names. This system allows users to generate virtually any file name and folder structure.

  • There are no Cinedeck restrictions on folder locations or the depth of nested folders.
  • Alternatively, an already existing destination folder can be navigated to and selected per encode.
  • The on-screen keyboard or a USB keyboard can be used along with copy & paste.
  • Easy to use template buttons for the real-time variables are available via the on-screen keyboard.
  • Six user created variables can be added to each project.

Cinedeck can record and play the following formats:

  • 4K/UHD is optional on ZX 
  • 1080i (1920 X 1080) – 50, 59.94, 60
  • 1080i (1440 X 1080) – 50, 59.94, 60
  • 1080p – 23.98, 24, 25, 29.97, 30, 50*, 59.94*, 60*
  • 720p – 50, 59.94, 60
  • NTSC – 23.98, 59.94
  • PAL – 25, 50
  • ZX40/45 support recording 4K YUV (4096×2160) and UHDTV-1 YUV (3840×2160), for example from a Sony F55 camera. ZX40/45 record one full 4K or UHDTV-1 channel.

*ZX45 can record four channels at 50/60P

Gang Mode
Gang Mode:

Cinedecks running version 4 and later, allow the user to easily gang together two or more internal channels from the user interface for simultaneously triggering record and playback. To reduce the strain on spinning disc file systems, these decks also support a user defined staggered gang, allowing channels to be triggered sequentially with a specified time delay instead of simultaneously.


All Cinedecks accept data from an ‘off the shelf’ Garmin model 18x GPS USB receiver and record the data with the incoming video and audio and or burn the data into the video image.

Growing Files
Growing Files:

(Also known as “Edit while record” – Support on Cinedeck for growing files is available in release 4.3 with the MOV and Op1A wrappers and is being refined. In Adobe Premiere, XDCamHD can be recorded to a destination which is accessible by the edit system and content can be imported, refreshed and edited while recording is still underway. Similarly, Final Cut Pro can access MOV files while recording is still occurring to accessible storage. The editing of live recordings is currently only supported when external edit systems are used and is not supported by AMA (Avid Media Access). Support for editing of live recordings by the Cinedeck playlist manager will be added in a future release.


Cinedecks provide the capability to encode H.264 at bitrates and frame sizes appropriate for viewing on iPhone, iPad, full screen and others. From version 4.3, Cinedeck offer streamable H.264 files as well.

I-Frame & GoP
I-Frame & GoP:

Cinedecks support I-Frame recording as Uncompressed, DNxHD, ProRes and more as well as supporting Long GOP recording with XDCamHD and H.264 at various bit rates.

Insert Editing
Insert Editing:

Simple, replacement of video and or audio in an existing file, similar to a traditional tape-to-tape insert edit, can be done with ProRes, DNxHD, AVC-Intra, JPEG 2000 and XDCAM HD content wrapped as MXF OpAtom, Op1a or MOV files. Inserts can be performed directly from non-linear editors such as Avid Media Composer and Final Cut Pro, using the same procedures as if editing to tape. Directly on the Cinedeck, users can insert a live source into a file or perform frame accurate inserts of one file into another. All of these processes will often be more efficient than recreating the entire original destination file.

Additionally, pre-stripped or blacked files (Cinedeck VMM – Virtual Mastering Media), can be created in advance and used as an insert edit destination for recording or editing in a non-linear fashion. These black files can be recorded into while providing full random play access on another Cinedeck channel or they can be played with a third-party viewers such as QuickTime or VLC Media Player. All Cinedeck files, including pre-striped black files, can support up to 32 channels of audio.

Interplay Check-in
Interplay Check-in:

When utilizing Op1a and MOV file wrapping, Cinedeck recorded content can easily be checked into an Avid Interplay environment using Medway from Marquis Broadcast. Medway can automatically check content in or users can manually select specific clips or sub-clips to process.

IRIG Timecode
IRIG Timecode:

Cinedeck recorders can accept an external IRIG-B timecode input and display the data on screen and optionally burn the data into the recorded video while recording the data with the incoming source.

IT & Connectivity
IT & Connectivity:

Cinedecks can have a variety of IT connections including; USB2, USB3, eSATA, VGA, DVI, HDMI, Ethernet and Display Port. ZX include a PCIe slot for optional 8Gb and 10Gb networking adapter cards and direct attached storage.

Jam Sync
Jam Sync:

The ability to momentarily apply a running timecode source to a deck, have it remembered and used as the record timecode.


Cinedeck recorders provide support for 1D and 3D LUTS (Look-Up Tables).

  • Traditional video cameras process the video signal all the way through the camera path from the sensor(s) to the BNC output or recording. The very nature of that processing throws data away and permanently alters the images in order to fit certain specifications and limitations which put heavy restrictions on the ability to modify the images later.
  • A LUT is a filter, generally created in a color grading application, which is loaded and applied to an image to alter and refine its appearance in terms of color, contrast, etc.
  • With Cinedeck, the on-board display can have a non-destructive, real-time LUT loaded and applied to the images so the viewers (Director, Producer, etc.) will have a pretty good idea of what they are really working with. Additionally software versions after 4.3 support recording of proxy and H.264 files with a LUT applied to the recorded image.
  • The 4K release allows the LUT to be optionally applied to the SDI output for “video village” monitoring and additionally provides the ability to make proxy recordings with the LUT applied.
Master & Proxy
Master & Proxy:

ZX40/45 can record all four (2K-HD-SD) inputs with the users’ choice of available master and a proxy codecs (for example ProRes HQ and ProRes proxy or uncompressed with H.264 proxy) while ZX20 can record two sources with a user selected master and h.264 proxy codec. Workflow package selection determines codec availability on ZX.

  • By sending the same signal to multiple channels, all Cinedeck recorders can be configured to record a source with two or more codecs of any sort such as; uncompressed, ProRes, AVC-Intra and JFIF.
MOV Flexibility
MOV Flexibility:

Cinedecks provide support for recording content as MOV files with a choice of standard interleaved audio, mono audio tracks or audio encoded in separate WAV (wave) files.

Non Cinedeck Clips
Non Cinedeck Clips:

Cinedecks can play content created on many systems such as Sony SxS, Panasonic P2, GoPro and nanoFlash (including the non-standard nanoFlash XDcamHD 100). Playback of QuickTime files with mono audio channels and support for playback of QuickTime files generated by Avid and Final Cut editing systems is also supported. Workflow package selection determines codec availability on ZX. All Cinedecks can read solid state card media such as SxS and CF utilizing external readers.

Path Override
Path Override:

When continuing work on a current project and especially when utilizing network storage, it is common to have an existing folder structure where new content should be placed. Setting the appropriate destination folder can be pre-programmed in Project Manager but often easier is using “Path Override” from the encoder settings pages. This feature provides a simple method for navigating through a drive to click and select the required destination folder for new recordings.

Play Multiple Clips
Play Multiple Clips:

Cinedeck decks can play an entire folder of clips with a single click and provide an easy way to select one or more clips to play sequentially, in a loop or repeating from start, to finish and back to start (Ping-Pong).


The I/O channels of Cinedeck are full duplex, allowing independent control and activities on each channel. They support multiple playback/record channels which, as of version 4, are capable of independently playing or recording any content at its original resolution and frame rate, independent of what the other channel(s) are playing or recording.


The Playlist Manager available from version 4.2 is effectively a non-linear editing interface built into the Cinedeck environment.

  • Playlisting allows adding clips from any source folder to a new or existing playlist.
  • Clips encoded with different codecs can be mixed but need to be the same format, color depth and frame rate, for example; all 1080p 23.98 10bit (note: Mixing formats will be added in a future release).
  • Playlists support TV standard sized still images and still image sequences (PNG, JPG. BMP).
  • Single or multiple clips can be reordered.
  • Clips can be used in their entirety or can be trimmed with in and out points to restrict playback to a portion (sub clip).

Version 4 and later of the Cinedeck interface includes an expanded capability for saving and restoring user preferences and project settings in an XML format.


All Cinedecks use a project based interface design for managing setup but in later version of 4.5, a completely project centric environment was introduced. All settings including folder and file naming, codec, wrapper, timecode, etc. are saved with a project. Projects can be set and saved, imported, exported and recalled for a single channel or multiple channels. As part of a projects settings, particular emphasis is put on an extremely flexible and powerful naming system which allows the integration of user entered text and real-time data.

Pro Tools
Pro Tools:

The Cinedeck environment released in late 2015 now allows Pro Tools users to directly insert audio into video files using a three-point-edit or by chasing and punching-in as they did with tape. Particularly unique is the final deliverable file can contain up to 32 tracks of audio.

RAID Attached Drives
RAID Attached Drives:

Cinedeck ZX has an available PCIe slot for the addition of network adapter cards as well as custom HBA (Host Bus Adapter) cards to support high-speed local attached RAID storage such as the removable RAID modules from Dulce Systems. The Dulce Systems HBA is essentially a PCIe extender enabling fast access to multiple terabytes of removable storage for Cinedeck recordings and also allowing the Dulce drive chassis to contain a network adapter to provide the Cinedeck with fast 8Gb or 10Gb network connections.

Record Time
Record Time:

For practical purposes, record time on Cinedeck recorders is only limited by the size of the destination drive so for example, when recording to a SAN or NAS, record time could be calculated as days or weeks instead of minutes or hours. All Cinedecks also support ‘roll-over’ recording, utilizing two drives for a single recording.

Redundant Files
Redundant Files:

Each Cinedeck input can be written as master and proxy file(s) and the decks can write redundant files per input/encoder to multiple destinations, providing the media and connection support the selected bit rate and I/O needs. For example, a 4 channel ZX45/40 can write a ProRes master and proxy file for each input giving you four primary masters and four primary proxies. Activating redundant record provides four additional or secondary masters and four secondary proxies for a total of sixteen files.

Redundant Power
Redundant Power:

Cinedeck decks are supported by redundant power sources with auto switching between power sources when one is removed.

  • All ZX have two redundant AC power supplies.
  • ZX will sound an audible alarm when only one power supply is active.
Remote & Control
Remote & Control:

Cinedecks provide many options for remote control.

  • All ZX allow independent RS422 control of each channel.
  • Decks can be the master or slave in a RS422 relationship, allowing control in either direction.
  • With Cinedeck as master over a tape machine, the user is presented with a full array of controls and status indicators from the slave deck. Recordings can be made on either machine, i.e. using the Cinedeck as the source or as the recorder. Insert edits can be made from the Cinedeck to the tape deck.
  • As slave, a Cinedeck can be controlled from a partner machine or via a separate control panel. (note: Cinedeck models with RS-422, manufactured before Dec 2014, require a RS-422 crossover cable for master mode. Slave mode requires a straight through RS-422 cable. Newer Cinedeck models come with bi-directional RS-422 ports.)
  • Cinedecks utilize the Grass Valley AMP protocol for control over IP by external devices such as asset management systems and switchers.
  • All Cinedecks can be remote controlled using standard VNC remote access software such as Teamviewer which provide the full user interface at a remote workstation in the next room or miles away.
  • Cinedeck can be driven using several different USB control devices and the ZX has an optional built-in tactile control panel.
  • All Cinedecks can have an external data display, USB mouse and keyboard attached so a common setup is to connect the decks into a KVM switcher for central control of multiple machines.

(note: The KVM system must provide DDM (Dynamic Device Mapping) which maintains the connection to all connected devices, regardless of the active device.)

Roll-over Recording
Roll-over Recording:

All Cinedecks support ‘roll-over’ recording where two media (identical or dissimilar) can be designated and combined as ‘primary’ and ‘secondary’ record destinations, significantly increasing record time.

Scene Names
Scene Names:

All Cinedeck versions have some support for scene names however from version 4.5, scene names can be created in advance and easily edited and cycled through, to quickly respond to on-set production requirements.


Cinedeck decks support the scheduling of multiple recording events, up to twenty four hours in advance, allowing unattended activation on a channel by channel basis using the EDL function. Enhanced multi-event date & time schedules and an advanced scheduling interface will be developed in combination with an upcoming release.

Segment Record
Segment Record:

Segment Record, also known as user-defined ‘chunking’, allows long recordings to be split into clip segments of shorter duration. During recording, each time the user specified duration is reached or the manual ‘break’ button is pressed, the current file is closed and the next segment file begins. Previous segments can be fully accessed for playing and copying, etc. Additionally, breaking large recordings into smaller pieces allows content to be easily transferred to storage with file size limits such as DVDs or FAT32 drives.

Signal Generator
Signal Generator:

Version 4.5 and later versions of the Cinedeck interface provide a multi-purpose signal generator for test image and tone generation. Test patterns, test pattern sequences, tone with breaks and solo tone for each channel can be used between channels as well as fed downstream for testing connected equipment.

Storage Options
Storage Options:

All Cinedecks write video and audio recordings as files to low cost and commonly available non-proprietary 2.5” SSD SATA drives.

  • Cinedeck SSD drives are mounted in removable, hot-swappable, dual drive cartridges or ‘sleds’.
  • Additional sleds as well as portable and installable receiving chassis are available to enable easy ‘sneaker-net’ workflows.
  • Currently, Cinedeck only recommend and support Samsung Pro and EVO series SSD drives.
  • For recording and playback, all Cinedecks can also utilize external USB* and / or eSATA* and / or network storage including NAS (network attached storage) and SAN (storage area network) systems requiring client software. Additionally, the Cinedeck operating system can be setup to support iSCSI file systems.
  • Cinedecks are Windows 7 Embedded based so fully support SMB shares and client software is often available for SAN installations.
  • Cinedeck ZX has an available PCIe slot for 8Gb fiber or 10Gb Ethernet cards as well as direct attached storage.

(*note: All external and network recording devices and plans should be extremely well tested before utilizing in a production environment.)

(*Drive assemblies of the same model from the same manufacturer can differ in firmware and internal hardware used so successful tests are drive specific and as such do not guarantee successful recordings with other units.)

Telecine Control
Telecine Control:

With the advanced control option, each Cinedeck channel can be tethered with a Spirit Telecine Controller for film to file transfers. The Spirit system takes RS-422 control of both the Cinedeck and the film scanner to manage the ingest process, can shuttle and cue the film and trigger recording of single clips, multiple clips as well as single “assemble edited” clips containing multiple film segments.


Cinedecks provide internally generated timecode, can accept embedded SDI timecode or external ‘LTC’ and display the data on screen and optionally burn the data into the video of selected files while recording the data with the incoming source. IRIG-B timecode is also supported.

IRIG support is optional, Per channel pair timecode input is standard on ZX, Master timecode input is optional on ZX.

Timecode Offset
Timecode Offset:

Cinedeck version 4.5 and newer supports several timecode offset options. The main input timecode offset is used to change correct large timecode differences such as changing the hour of a source timecode from 1:00:00:00 hour to 7:00:00:00 or local time to GMT. There are also several fine timecode offset adjustments which can be made to each timecode source to compensate for small latency issues when using the Cinedeck with other devices.

Timecode Re-stripe
Timecode Re-stripe:

Cinedecks with the Insert Edit option can re-stripe timecode in existing files, providing a way to reset the start time and change between drop-frame and non-drop-frame timecode.

Touch Display
Touch Display:

Cinedeck ZXs can be configured with a 7” LCD touch display for viewing video and manipulating the user interface. All Cinedecks can have an external display attached for viewing video and manipulating the system. 


The full duplex, independent channel control of Cinedeck allows selecting content to play and simultaneously encode in any other format in real-time. For example, some uncompressed source content could be transcoded in real-time, to AVC-Intra.

Upcoming Features
Upcoming Features:

  • FIFO Loop Record / Time Delay
  • Expanded transcoding
  • Advanced scheduling
  • Watermarking

Cinedeck recorders are expressly designed to be enhanced with new features and functions, extending the life and relevance of the systems. Cinedeck delivers several major updates each year.

  • Updates come as *.exe files which are generally about 250MB, downloadable and usually take about two minutes to apply.
  • Each Cinedeck ships with a system restore disc to use for resetting the deck back to a complete clean factory state. The re-imaging process takes about 10 minutes.
  • Some optional and upcoming features may require the purchase of additional licenses.
  • Cinedecks are designed from the ground up to allow system and interface customizations as well as completely custom OEM products. Being customer and engineering oriented means the Cinedeck engineering team is always open and always interested in discussing specialized integration, additional features and feature modifications.
  • Extended hardware warranties with priority support and software maintenance including all major updates are available to extend factory warranty and support beyond the first year.
UpRez SD - HD - 4K/UHD:
UpRez SD – HD – 4K/UHD:

Systems with the 4K/UHD YUV option have the ability to directly uprez HD source inputs to UHDTV-1 and 2K source inputs to full 4K. There are specialized real-time scaling algorithms which provide excellent results for uprezzing cell style animation and live action video sources. All systems have the ability to selectively uprez SD to HD when playing SD files.

VBR / CBR Encoding
VBR / CBR Encoding:

Some codecs such as H.264 and ProRes support both CBR (constant bitrate) and VBR (variable bitrate) encoding. The Cinedeck interface allows selection of CBR and VBR on a per encode basis. CBR can be especially important in the Cinedeck environment as the Cinedeck insert editing function requires using CBR encoded source and destination content.

VMM - Virtual mastering Media
VMM – Virtual mastering Media:

Cinedeck VMM or Virtual Mastering Media are pre-blacked or pre-stripped files that work exactly like a blacked tape. Content can be inserted anywhere, any time. These black files can be recorded into while simultaneously providing full random play access on another Cinedeck channel or they can be played with third-party viewers such as QuickTime or VLC Media Player. Creating VMM is faster than real time and you can build a VMM library, on disk, ready to use, making your work even more efficient. All Cinedeck files, including pre-striped black files, can support up to 32 channels of audio.


Cinedeck uses Avid Op-Atom MXF and MOV wrappers in combination with the most common use of the appropriate codec, i.e., DNxHD can be wrapped as MXF OpAtom for true Avid native integration but many of the codec options available on every Cinedeck provide a choice of wrappers including. Workflow package selection determines wrapper availability on ZX.

  • Avid MXF Op-Atom
  • MXF Op-1A (AS-11/DPP compliant)
  • MOV (Interleaved, Mono or MOV video with separate WAVE audio)
  • AVI
  • MP4
XML Data
XML Data:

Each recording session can be accompanied by clip specific *.xml files. The completed *.xml files contain clip specific metadata which can be imported into asset managements systems and the like. The destination folder can also be selected for the xml files.