Multi-Cam Studio & Mobile

Cinedeck recorders smooth multi-camera production from acquisition through dailies to post and delivery, allowing the most efficient & cost-effective work f-l-o-w.

Cinedeck 'streamlined' Multi-cam
Cinedecks are ingest & encoding servers optimized for multi-cam production, post-production and finishing applications. The user interface and extensive feature-set is designed around years of feedback from a broad-range of industry professionals – EICs, Producers, Editors, machine-room technicians and facility owners. We describe our products as optimized because they address the needs of real day-to-day production and post-production workflows and critically, eliminate the gaps and pain-points often confronted in the process.

Cinedecks give you a direct path from lens to edit-ready files on your server which means multi-cam production is simple.  Create edit-ready low-res files for post faster by encoding master and proxy simultaneously across multiple channels. Matching metadata across all channels ensures easy matchback between your edited low-res timeline and your master encodes.

For instance in an Avid workflow, create DNx145 Masters along with 10:1 JFIF proxies simultaneously across multiple channels.  Each Cinedeck encode of master and proxy also includes an AAF which means Drag & Drop, you don’t have to run your files through AMA before editing.

Just as important as workflow streamlining, in today’s cost-conscious environment, Cinedecks give you the features you need and want at costs far lower than the competition.

'old-fashioned' Multi-cam
There really is no reason to put up with the pain and time lost with traditional multi-cam production.

Typically, you might record multiple cameras to a rack full of tape machines, or perhaps optical disks, you might even record in camera so you can go direct to files but when recording stops, the headaches start; Ingesting, Copying, Transcoding, Renaming, Proxy generation… The list goes on, the days go by and the cost goes up!

With a Cinedeck, SDI goes in and Edit-Ready files come out; ProRes, AVC-Intra, XDCAM and more, all written directly to the storage you need to work from and with names you can read and understand, today and tomorrow.

OB | Mobile
Outside broadcast productions have traditionally used tape decks for recording but Mobile environments often put significant limitations and strain on operators and the gear itself. This is where the physical design and capabilities of Cinedecks really shine.

For example, Cinedeck ZX has a smaller physical footprint and weighs less than a typical tape deck such as a Sony BVW-75, yet a ZX45 provides four or even eight times the recording power at quality levels that can surpass any tape deck. You get all this in a system that is extremely easy to set up and operate. Changing modes or formats on a Cinedeck, say from PAL SD IMX to 720p 59.94 DNx recording, takes about 5 seconds while the most complicated mode change, HD to 4K or 8-channel mode, takes just a few minutes and does not require an app just to figure out what you need to change.

You can quickly set up all Cinedeck platforms to fit your customer’s on-location mobile video production requirements, creating virtually any combination of Master and Proxy files on the most convenient storage destinations – as you make significant savings on weight, space and training.

Keep your clients happy with the fastest turnaround of master, proxy or H.264 files. With Cinedecks encoding master and proxy files simultaneously and redundantly, as soon as the credits roll, your client can walk away with a set of ready-to-edit files, to start post production right away and you can keep a set of files on-hand, just in case…

More information about Master & Proxy Encodes

Historically, VTRs were the mainstay for recording in production and post. Cinedeck multi-channel, multi-codec, stand-alone recording/ingest appliances are the ultimate replacement. They can be transported and connected as easily as a VTR, provide all of the typical features users are accustomed to, while adding significant enhancements. These include: the ability to directly encode content as a broad variety of files which are native and fully compatible with all post-production environments; files that can be written to virtually any storage destination, all under your control via a local display for system management and viewing video with analysis tools.

With the transition to file-based workflows, there is a growing need to record directly to files. The missing link has been an appliance that provides simple and flexible file-based recordings – one that is network-friendly, yet can operate in isolation, stand-alone like a tape deck with full local control or be fully integrated. A system that delivers the functions you need without breaking the bank. Whether you need full integration with recording directly to a SAN or NAS, hardware that can be easily moved between locations or recording media that can be instantly removed, Cinedecks are the perfect accompaniment to any studio. With support from SD to 4K and virtually every codec and wrapper you might need, you can handle every project with the push of a button. Multiple remote access methods; RS-422, AMP API, VDCP and VNC, mean Cinedecks will fit your workflow and with a simple LAN based remote application, triggering multiple records requires just one touch.

File-based workflows are a perfect example of a change that has been simultaneously, liberating and maddening. To eradicate the madness, Cinedecks bring back Live-to-Tape functionality as Live-to-File.

The freedom brought on by the return to non-linear editing (the only way editing was originally done, i.e. ‑ film) and the unshackling from the restraints of linear tape, was nothing short of a miracle. However, the delivery process, namely the requirement that shows must first be exported, makes many studio productions unnecessarily complicated and time-consuming.

Many broadcasts, especially daily, ‘current events’ programs are essentially produced live but not aired live. These shows can be recorded as files and, if no mistakes are made during the session and nothing needs to change after recording is complete, the files might be directly usable. This however is the real world where something always changes and people make mistakes. It also means some sort of time-consuming import or export needs to occur after the fix – Terribly inefficient when compared to the immediacy of delivering a program Live-to-Tape. Live-to-File simply means you can build a program in pieces or blocks, fix and change things as you go and when you get to the end, the show file does not require an export, consolidate, render or transcode, it’s done and ready to go.

Cinedeck recorders provide two methods for creating Live-to-File content, Pause & Seek and Insert Baseband. Each method has its own advantages but both result in standard flat finished files.

Cinedeck’s “Pause & Seek” mode is the closest to what many know from tape as assemble recording or assemble editing, with the unique addition that with Pause & Seek, multiple record channels can be simultaneously controlled. Two examples for this are building a show master while keeping a few ISO channels in sync with the master or creating multiple masters with different codecs.

Pause & Seek is straight forward; record, pause, set an in-point somewhere in the just recorded content and continue recording. This process is repeated as often as needed until the end is reached. Of course, if something needs to change after initial recording is complete, Cinedeck’s insert edit capability is always available.

Insert Baseband leverages Cinedeck’s patent pending insert edit engine by inserting into VMM (Virtual Mastering Media). Just like insert edits to tape, a pre-blacked file (VMM) is first created. After that, content is freely inserted into the file anywhere and anytime. This provides the ability to build Live-to-File shows out of order and most codecs support Total Confidence Recording meaning the master file can be played simultaneously while still recording, allowing full QC to occur or even broadcast playback to begin while the show is being finished.

Back to the Production Workflow Overview