Issue link: https://digital.copcomm.com/i/714540
27 and low-resolution files, as well as a web proxy. Each video stream also recorded eight audio feeds. Producers could watch these twelve live streams from any- where with internet services, via Pronology's web portal, where they could take notes, create additional metadata and make assembly cuts of footage for the editorial team. With our tight turnaround to fill two hours of programming weekly, our system had to be streamlined to meet the expec- tations of the editorial, promos and story departments. My job on Utopia was to oversee all of this while also training the story, editorial and Pronology teams, scheduling department personnel and archiving LTO. When Utopia was canceled, the crew's biggest disappoint- ment wasn't the sudden lack of workâit was that our powerful and robust system capable of working 24/7 would be shut off. When cutting-edge technology is paired with content that doesn't seem to resonate with audiences, it is both comforting and frustrating to know that the program's premature ending was caused not by technological failures but audience indifference. A year later, I was delighted to learn of Pronology's new venture: the second-generation mRes box was becoming a permanent installation in Viacom's new truck, Atlas. The mRes is the only uncompressed loop recording device on the digital acquisition market currently; its robust nature and flexibility is ideal for Viacom's live recording environments. With the ability to record four sources of video with sixteen channels of audio simultaneous, the mRes box first records onto a local recording server before transferring a com- pressed file to any external storage device you choose. Once the machine is booted and the sources are routed correctly, mRes continuously records, with a seven-hour loop that eventually eats its own tail. The anxiety of missing a shot is a nonissue because I now have the ability to go back in time and re-record media shot as much as seven hours ago. mRes supports a variety of codecs, including uncompressed, AVC-intra, the Avid DNxHD family of codecs (H.264) and Apple's ProRes family. Wrapper support includes QuickTime self-contained files, MXF-Op1a, MXF-Op Atoms, MP4 and others. The current generation of mRes box on Atlas is configured for resolutions up to 1080p, with frame rates ranging from 23.98p to 60p. However, a 4k box debuted at NAB this past April, boasting capabilities that rival its big- gest competitors. ClipController, mRes's GUI, is both easy to use and config- ure, plus it allows for expansion from one to many recording channels. The integration of this recording interface, along Jillian Arnold at the CMT Awards Atlas in front of the All State Arena for the Gabriel Iglesias show