Issue link: https://digital.copcomm.com/i/82522
CAMERA ROUNDTABLE ing and playback of native ProRes and Avid DNxHD encoded files at speeds of up to 120fps. This provides great flexibility in both feature film and broadcast production appli- cations, since offline color processing and/or transcoding to other formats for editing is not required." MARSH: "We're working closely with the Academy [of Motion Picture Arts & Scienc- es] to make sure the F65 fits into an ACES (Academy Color Encoding Specification) workflow. We're also working with other manufacturers to ensure that what you see on set is what you get in dailies and what you see in post. We want to maintain a constant image path throughout the workflow. "We are releasing free plug-ins in Septem- Clyde Bessey shooting 5K with a Red Epic-M Scarlet for a Cellular Skate video. CRAIG YANAGI: "All of the cameras cur- rently in our product line have attributes that have contributed to post production. JVC was licensed by Sony to record XDCAM EX files and by Apple to record Mov files. JVC also had [one of] the first professional video camcorders to record onto inexpensive yet robust SHDC solid-state media. "Five years ago the biggest hurdle that existed within the creation and production community was the bridge between acquisi- tion and post. We asked that community around the world about the critical attri- butes they were looking for: One was file format ubiquity and the other was the ability to access the files natively. At the time the best-selling camera was recording XDCAM EX and the major nonlinear editing system was Final Cut Pro. Our engineering team worked with Apple to take one of the most popular file formats and record it natively into a file that could be readily accessed without any manipulation. San Diego's GoPro (gopro.Com), makers of the Hero camera line, are introducing Protune this fall to help make their offerings even more post friendly. Here are the three key attributes: addition of 24p frame rate: allows for easier inter-cutting and sound sync with other professional camera content; neutral color profile with Technicolor CineStyle LUT: provides wider dynamic range and vastly improved color grading opportunities; high bit-rate H.264: minimizes compression artifacts for a more natural, clearer image. 24 Post • September 2012 "JVC's new GY-HM650U camcorder will have the ability to transmit recorded video files via FTP directly from the camcorder via a WiFi hotspot, available on today's Smart- phones. The GY-HM650U will have USB hosting capability that will enable the cam- corder to work within a given geographic location with the wireless infrastructure that is native to that area. Now, the files that are recorded in-camera can be transported to a cloud or data warehouse without being physically tethered to a piece of hardware, establishing new economies of time and storage for acquisition and post. "Also, metadata will be viewable and applicable to the MXF files in the cam- corder via 'apps,' which will be created for use with mobile devices, providing the ability to mark and manage the video files freely and intelligently." CHUCK WESTFALL: "Canon's new EOS C300 digital cinema product has a codec based on the one we developed for our XF- series professional HD camcorders. That's valuable for workflow issues because the codec is already supported by the top NLEs in use today from Apple, Adobe, Avid and Grass Valley. We've worked hard to make the footage coming out of our cameras very easy to ingest in all these systems. "On the digital SLR side, with cameras like the EOS 5D Mark III, 5D Mark II and 7D, we've developed a plug-in for Final Cut Pro so you can edit the files natively. It's a real time saver." What developments have you imple- mented in your cameras to facilitate the transcoding process? FANTHOM: "All Alexa cameras contain extremely powerful image processing sys- tems, which allow realtime in-camera record- www.postmagazine.com ber for Avid Media Composer/Symphony and Adobe Premiere CS6 that will handle F65 raw files natively." SCHILOWITZ: "Practically every edit- ing and DI system in the world — Scratch, da Vinci, Nucoda, Pablo, Mistika, Baselight, Lustre, SpeedGrade — supports the Red workflow natively and runs Red Rocket for hardware acceleration. If you go to a post house and drop five hours of Red footage and they tell you to come back in a few days, you should take your footage and leave. You want to walk into a post house, load the footage and play it instantly in 4K; if a facility can't do that then they haven't been paying attention. "If you want to record ProRes or DNx you can have your cake and eat it too. You can shoot super high res raw on Red, Epic and Scarlet, attach a recorder — AJA's Ki Pro Mini, Atomos's Ninja or Samurai, Sound Devices' Pix 240 — and the camera will communicate with the recorder. So without transcoding anything you can walk away with a ProRes version for offline or even online. You can't get any more post friendly than that! "Our RedCine-X Pro tool, which is avail- able as a free download and runs Red Rocket, also preps native Red files in a format for your NLE of choice." YANAGI: "JVC Professional camcorders provide the operator with the choice of recording the widely used XDCAM EX for- mat natively or consolidating the faceted components into a Mov QuickTime wrapper. A single Mov file can be dragged and dropped into the Final Cut Pro/Final Cut Pro X or Adobe Premiere timeline without any transcoding or rewrapping. That's been a major factor in the wide adoption of our products in the industry. "We're also working on placing Mov and MFX file wrappers on the H.264 codec; camcorders with this capability will