Exploit the power of Cinedeck in your 4K workflow.
Until the very late 20th century, film was the only practical system available for creating and archiving high-resolution motion pictures. We watch and enjoy older re-mastered and re-released productions today, primarily because those film images deliver the resolution necessary to hold up to large format, high dpi displays.
In reality, 4K production can cost more but it does not need to be exorbitant, nor must it be painful – This is where Cinedecks provide broad benefits.
If you are producing content for general distribution, you will likely need:
- 4K/UHD master files to produce 4K final deliverables
- HD master files to generate HD deliverables
- Color corrected HD proxy files to allow more efficient editing
- Color corrected H.264 files to livestream during acquisition or for later upload
ProRes, DNx, H.264 and more… Cinedecks deliver redundant versions of all the needed files simultaneously and in real-time, while you are recording. You have instant editorial and archive access so there is no time wasted; copying, transcoding, re-wrapping, encoding, etc. Conversely, without Cinedeck, each additional camera multiplies the processing time required to prepare your files for edit.
Storage is another factor. Cinedecks allow you to put these files where you need them, in real-time. Take for example a Media Composer workflow. Cinedecks can write Avid native OpAtom files directly to ISIS/NEXIS or virtually any other SAN or NAS, eliminating all barriers between acquisition and editing. Starting the edit is pretty much as simple as Drag & Drop.
Of course, all these different files use identical timecode and unrestricted flexibility in file and folder naming, delivering seamless transitions between off-line, on-line and finishing.