PANELLISTS
❝ It ’ s always a great idea to start with the best source image possible , even if it exceeds the standard delivery format used
in most regional productions .❞
16
April July 2017 2012
Technology
4K / UHD recording with new Canon EOS addition
Canon ’ s new EOS C200 digital cinema camera features the newly developed Dual DIGIC DV 6 image processing platform . This feature , said Canon , allows the EOS C200 to record 4K / Ultra HD ( UHD ) video to CFast cards using the new Cinema RAW Light video format . The EOS C200 delivers a maximum 15-stop equivalent wide dynamic range for 4K / UHD high dynamic range ( HDR ) video recording in Cinema RAW Light format , and a maximum 13-stop equivalent in MP4 format that employs Canon ’ s proprietary Log gammas — Canon Log 3 and Canon Log .
Fujifilm launches new MK cinema lens
Fujifilm has made available the Fujinon MK50-135mm T2.9 zoom lens , the latest in the company ’ s MK series of cinema lenses . The MK50-135mm is the same size and weight as the recently introduced MK18-55mm , but comes with a 50-135mm focal length . Fujifilm also recommends the MK50-135mm lens as a companion lens to the MK18-55mm T2.9 zoom lens . With a combined focal length range of 18mm-135mm , both lenses cover the most frequently used range utilised by emerging cinematographers , said Fujifilm .
Next Month @ Creation
Next-Generation Editing Systems
PANELLISTS
Dr Ahmad Zaki Mohd Salleh
Group GM , Engineering Media Prima
Phan Tien Dung
CTO Vietnam Digital Television
Bernard Anthony
CEO Cambodian Broadcasting Services empowers post-production workflows
In post production , the raw content undergoes a workflow involving different workstations , where it is refined , edited and tuned to perfection . And where efficiency is concerned , editors are today able to deploy IP and cloud technologies to simplify workflow processes while enhancing communication across workstations . Josephine Tan reports .
There are three stages in filmmaking : pre-production , production and post production . Particularly for post production , workflows comprising ingest , editing , mixing audio and adding special effects have to be established in order to bring the recorded material to life .
As image quality , enabled by technologies such as 4K / Ultra HD ( UHD ) and high dynamic range ( HDR ), are now capable of providing greater details and sharpness , content producers are encouraged to produce their content in the best available resolution .
Bryce Button , director of product marketing , AJA Video Systems , tells APB : “ The most important thing for editors to remember when considering 4K /
❝ It ’ s always a great idea to start with the best source image possible , even if it exceeds the standard delivery format used
in most regional productions .❞
— Bryce Button , Director of Product Marketing ,
AJA Video Systems
UHD and HDR is that regardless of raster size , it is always a great idea to start with the best source image possible , even if it exceeds the standard delivery format used in most regional productions . Acquiring source materials at 4K / UHD , while using as much of the available colour space and luminance range as possible , will best position editors to deliver richer programming and provide future earning potential off of this source material .”
In the 2016 Global 4K / UHD Industry Survey report by Irderto , 88 % of the total respondents indicated that they will launch 4K / UHD content by 2020 , and the key drivers for the implementation of 4K / UHD is the expectation that
AJA Video Systems ’ FS-HDR is designed to bridge the conversions needed from wide camera color spaces and luminance ranges to HDR standards , and from SDR to HDR to integrate non-HDR materials into HDR programming . consumers will pay 10 % -30 % more for premium content . “ 4K / UHD is looming large in Asia , and is being pushed in Japan , South Korea and China right now , while others will follow soon ,” says David East , director , news business development , Asia-Pacific , Grass Valley .
“ Furthermore , some TV stations in Vietnam are looking at 4K / UHD production , and we are starting to see the requirement for compatibility in Myanmar ,” East continues . “ Even though 4K / UHD may not be a transmission requirement for many countries , there are many situations where systems must be 4K / UHD-ready .”
The creation and transmission of 4K / UHD content requires media operators to be equipped with more bandwidth , storage and processing power for editing systems . A shift away from SDI towards IP workflows , East suggests , will facilitate the delivery of 4K / UHD content for post-production editors . He elaborates : “ As the SMPTE ST 2110 standard for IP becomes available , more data and , importantly , metadata , can be passed through the network .
“ IP technology has been around for a long time , and broadcasters are now adopting IP workflows because they are format agnostic , enable multiple video streams on a single Ethernet cable , and allow easy integration of video from remote sites . IP workflows will smoothly scale to cope with 4K / UHD formats , HDR , HFR ( high frame rates ) and other emerging standards , but at a post-production level , editors need to yet again get ready for more data and storage .”
Another advantage of employing IP is to enable cloud-based solutions in post-production workflows , thus providing editors with the ability to work with , edit and create content . Empowering the cloud enhances workflow efficiency while encouraging collaboration between departments . Particularly for productions involving geographically dispersed teams , the cloud supports access to materials from virtually anywhere .
Calling the use of cloud-based systems “ a great advantage ” to post-