Author: ArcPro Media

MAS-A100 Beamforming Microphone
Introducing Sony’s beamforming ceiling microphone with advanced speech reinforcement technology – enabling truly hands-free lectures and presentations.

To learn more, click here.

Grass Valley, CA (February 12, 2020) – AJA Video Systems is now shipping HDR Image Analyzer 12G, the powerful, real-time HDR and WCG monitoring and analysis platform featuring 12G-SDI connectivity. Developed in partnership with Colorfront, HDR Image Analyzer 12G supports up to 8K/UHD2 HDR monitoring and analysis for high raster content over 12G-SDI, with the simplicity of single-cable connectivity for higher bandwidth workflows.

HDR Image Analyzer 12G fuses AJA’s production-proven video I/O technology with powerful HDR and WCG image analysis tools from Colorfront, including waveform, histogram and vectorscope monitoring and analysis of up to 8K content over 12G-SDI for broadcast and OTT production, post, QC and mastering. Within a compact 1RU chassis, HDR Image Analyzer 12G provides users with a comprehensive toolset to monitor and analyze SDR and HDR formats, including PQ (Perceptual Quantizer) and Hybrid Log Gamma (HLG). Additionally, the HDR Image Analyzer v2.0 update introduces configurable windows support for increased user flexibility for both the HDR Image Analyzer 12G and original HDR Image Analyzer models.

Additional HDR Image Analyzer 12G features include:

• 8K/UltraHD2, 4K/UltraHD, and HD 60p over 12G-SDI inputs
• UltraHD UI for native resolution picture display over DisplayPort
• Configurable layouts for placing desired tools in the preferred window
• Remote configuration, updates, logging and screenshot transfers via an integrated web UI
• Remote Desktop support
• Support for display referred SDR (Rec.709), HDR ST 2084/PQ and HLG analysis
• Support for scene referred ARRI®, Canon®, Panasonic®, RED® and Sony® camera color spaces
• Display and color processing lookup table (LUT) support
• CIE graph, vectorscope, waveform and histogram support
• Nit levels and phase metering
• False color mode to easily spot pixels out of gamut or brightness
• Advanced out of gamut and out of brightness detection with error intolerance
• Data analyzer with pixel picker
• Line mode to focus a region of interest onto a single horizontal or vertical line
• File-based error logging with timecode
• Reference still store
• SDI auto signal detection
• Three-year warranty

Pricing and Availability
HDR Image Analyzer 12G is now available through AJA’s worldwide reseller network for $19,995 US MSRP. To order or for more information, visit: www.aja.com/products/hdr-image-analyzer-12g.

About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high quality, cost effective products to the professional broadcast, video and postproduction markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.

Production teams are scrambling in the wake of the coronavirus pandemic, trying to quickly adopt remote workflows so they can keep their projects moving while also abiding by social distancing guidelines. But how can production professionals know which remote post-production solution is best for their needs? To help you pick the option that’s right for you, here’s a brief overview of the three main categories of remote post-production solutions as well as some pointers on when you might want to choose one over the other.

Factors to Consider When Choosing a Remote Post-Production Solution
When you’re trying to figure out how to work remotely, chances are pretty good that the first question that flashes into your mind is: “How do I even know what I need in the first place?” To answer that question, you’ll want to consider three key factors: scale, collaboration, and security. Determining your team’s requirements in each of these areas will point the way to the right solution.

For example, a large post-production company that is working on a major motion picture and has a globally distributed team will probably place a premium on effective collaboration, and security is likely to be a high priority as well. A smaller post house with a lean budget and a crew of between ten and twenty people can probably get the job done with a more straightforward solution with basic collaboration features, and security may be less of an urgent priority.

While there are several important aspects that you must consider when choosing the right option for working remotely, the good news is that there’s a solution for everybody. Here’s a look at the top three technologies for remote post-production, their advantages and constraints, and who will likely benefit from them the most.

1. Remote Access
If you’re looking for a band-aid solution to get you back to work as quickly as possible, remote access is a good pick. This technology lets you connect to your computer at work via remote desktop software, allowing you to access media and continue to edit as you did before. Remote desktop technology streams your work computer desktop straight to your computer at home, giving you the full ability to use your editing tools as if you were right there in the studio. It’s also a solid choice if you have a lean budget and can’t spend a lot of money on technology right now.

That said, there are some limitations to remote desktop software that you should know about before moving ahead with it. Because this solution was originally designed for office workers who needed to access their files and email from home, it wasn’t created with the needs of post-production professionals in mind. As a result, post-production teams may find it a bit clunky to use. Remote desktop technology is not optimized for video editing, and it doesn’t support collaboration all that well compared to virtualization or the cloud. You may also need to make sure you have sufficient internet connectivity at each of your locations in order to work well using remote desktop technology.

This option is best for: independent post-production pros and smaller post houses that need a simple, low-cost solution for accessing their systems and storage from remote locations.

2. Virtualized Environments
If you need to scale and collaboration is also a priority, virtualization is an intermediary solution that may fit the bill. Virtualization creates an environment that feels very much like the one you are used to at your post or broadcast facility. This is made possible by running all of your software on a on a virtual machine, enabling everyone on your team to go in and access it at the same time. You can work more quickly and play back media more seamlessly in a virtualized environment than you would using remote desktop software, assuming you have the right internet connectivity. This environment uses PCoIP connectivity that is optimized for media productions.

Your production team can collaborate more effectively and flexibly, at scale, with these building blocks in place. This can come in handy if you’re editing a motion picture, for example, and you have ten team members who all need to collaborate on the same project at the same time. Virtualization also supports co-location quite well, meaning these team members can work from anywhere—whether that’s New York, California, or an entirely different location—in a more sophisticated fashion.

If security is a concern for your post-production company, then that may be another reason to consider a virtualized solution. All of your media assets are still housed within your data center but, because your post-production systems are virtualized, your storage has an additional layer of protection. Virtualization provides you with a similar level of security that you would have on your other IT systems, allowing your team to work more securely from remote locations.

This option is best for: medium to large production companies or broadcasters, often with teams of 25 people or more, that need to scale their capacity for remote production.

3. The Cloud
The cloud is by far the most seamless and sophisticated option for production teams that cannot compromise on efficiency or collaboration. In a cloud scenario, all of your media and your editing tools are available directly in the cloud. Your editors can access media, play it back, edit it, and collaborate with one another from literally any location in the world. They can archive media, access high-speed and high-quality playback, make real-time edits, and gain full accessibility to their workloads in the cloud. This option also provides robust security, helping to prevent unauthorized parties or opportunistic attackers from accessing your media files.

A fully cloud solution comes with a bigger price tag than its remote desktop or virtualized counterparts, and it also requires sufficient bandwidth to work well. However, it can also be thought of as a valuable long-term investment. Cloud technology strengthens your business continuity posture, allowing your production team to remain resilient and keep working remotely right through crises like the one we’re experiencing now. Since the cloud frees you from having to maintain your own data center, it also removes the administrative overhead that you might have to contend with in a remote desktop or virtualized scenario.

Ultimately, the cloud empowers your team to work efficiently and stay on track with its projects from any location at all—no matter what challenges or disruptions may come your way. It’s also worth noting that you don’t have to go all in on the cloud at once. Some post-production teams dip a toe into the water with a hybrid solution. For example, they might store media in the cloud but still do their editing locally. That way, they can access some of the cloud’s benefits and see how well it meets their needs without having to put a dent in their operating expenditures budget.

This option is best for: medium or large production houses or broadcasters, particularly those that are working on large studio productions or have global teams, that require a sophisticated solution for remote productivity and collaboration.

There’s a Remote Post-Production Solution for Everyone

Although it’s a difficult moment for post-production teams as they struggle to figure out how they can work well from remote locations on short notice, the good news is that there’s a remote post-production solution for every type of team, no matter the budget involved. With a little research and preparation, you can pick the option that’s best for your team and spin up your new remote locations. Once you’re in a position to begin thinking about your long-term plans for remote work, you can build upon the solution you’ve already chosen to create a stronger foundation for the future. That way, the next time an emergency or a crisis arises, you’ll be better able to minimize any disruption and stay productive no matter where your team is located.

Color matched 4K HDR picture monitors color with 4K master monitor BVM-HX310 ideal for various 4K productions
The PVM-X2400 24-inch, 4K HDR high grade picture monitor incorporates the Sony specified premium LCD panel and offers 1000 cd/m2 luminance and color matching with 4K HDR master monitor BVM-HX310, making group monitoring easy in onset, Studio and OB van’s wall and 19” EIA racks, Editing, Mixing audio, etc.

TRIMASTER realized Accurate colour reproduction, Precise imaging and Quality Picture Consistency
TRIMASTER is a design architecture for accurate picture reproduction, precise imaging and Quality picture consistency.
There are many advantages in the panel control and signal processing system such as fast processing, accurate linearizing of an input signal with Optical Electrical Transfer Function, accurate color reproduction, etc.

Dynamic Contrast Drive and Black Detail High/Mid/Low

Dynamic contrast drive is a new backlight driving system that dynamically changes backlight luminance to adapt for a scene of a frame. You can conveniently check a total balance of highlights and low lights at a glance. This monitor can dynamically perform 1,000,000:1 contrast ratio by this drive.
From 12G-SDI and Quad-Link 3G-SDI to HD-SDI as well as HDMI

The PVM-X2400 can accept 12G-SDI from the latest device and it can input quad-link 3G-SDI and a single HD-SDI for a traditional device. This input utility is HDMI supports from 640×480/60P PC signal to 4096 x 2160/60P 4:2:2 YCBCR 12bit.
Various scopes
Both waveform monitor and vector scope can simultaneously be displayed with scales for both HDR and SDR. You can conveniently check both input signal level and output luminance by the HDR scales of the WFM. The waveform has three different displays of either Luminance, RGB/YCBCR parade or RGB/YCBCR overlay with the Gamut error display. The waveform of a specified line can also be displayed.
Unique quad view display with User 3D LUT
The PVM-X2400 provides a quad view display, with individual settings of EOTF (SDR/HDR), color space, transfer matrix, color temperature, contrast, brightness, SDI/HDMI, RGB/YCBCR, as well as User 3D LUTs for each display view
New User Interface and Channel select button

OSD is largely changed and operating this monitor is quicker and more intuitive. Design of the menu allow you to review the settings and change some settings very quickly. The Channel select button protects an operator from inadvertent setting errors.
Handy features for field operation

DC 24V operation allows you to operate it outfield regardless of 24” large screen and 1000 cd/m2 very high luminance. The optional protection panel* protects the premium LCD screen from inadvertent shocks. User 3D LUTs and Yoke-mount are also supported. Dynamic Contrast Drive is very useful for night-scene shooting.

* Optional protection panel cannot be used with the monitor in operation for protecting the screen from heat of backlights.

Various mount capability

Regardless of 24inch large screen size, the PVM-X2400 can be installed to 19inch EIA standard rack for studio and OB van uses. Yoke-mount and VESA mount are also convenient for installing it to a C stand for field use and a Desktop arm for editing.

Powerful stereo sound with audio muting

The PVM-X2400 incorporates Stereo speakers(2W+2W) with audio muting.

Click to learn more!

With such a vast range of technology on the market, it’s important to know that you’re getting high quality every time. And when it comes to purchasing a new display, there’s a lot to consider. It’s important to understand what’s on offer; ultimately, how do you get the best on the market within your budget?

Which resolution? 4K or HD?

In next to no time, image quality has come a long way. HD (720p) and Full HD (1080p) now sit in the lower tier of the market and 4K now leads the way in terms of consumer and professional displays.

However, higher resolution doesn’t necessarily guarantee a better picture. Each of our energy-efficient BRAVIA Professional Displays features 4K HDR technology giving them incredible colour definition, therefore improving image quality.

In a professional environment, where charts, sales forecasts, presentations and spreadsheets need to be reproduced in crisp definition, 4K displays a level of detail which HD simply can’t match. With a selection of our models benefitting from our 4K X-Reality PRO picture processing technology – it’s hard to find a better picture elsewhere.

You may be wondering whether you really need to invest money in a professional display – after all wouldn’t a consumer television work instead? Well the answer is yes – but the truth is it just wouldn’t do that job as well as a professional display that has been engineered with the corporate user in mind.

The difference is in the details

The difference is not in the screens themselves: both consumer and professional models benefit from our cutting-edge display technology.

But while a consumer display is designed to be used in a home environment and to allow the user to watch television and movies, our professional displays offer so much more versatility – from incorporating graphics to linking to live websites, video conferencing and more.

What’s more, they’re typically built with the corporate setting in mind meaning they’re more robust, resistant to dust and dirt particles and have a sleek, compact design.

To ALL our Valued Customers,

Following the recent announcement by both the Federal and Provincial Governments, mandating the closure of many businesses and services in Canada. Dynamix has made the move to implement many of our operations remotely where possible and continue to transition most of our services without any interruptions moving forward.

In accordance with The Province of Ontario, many of the markets we serve have been categorized as those companies providing Essential Services in Telecommunications and IT Infrastructure. All of our current Service Operations will continue to support these critical needs without interruption during this very challenging time. Where possible, we are encouraging most of our team to work remotely from home to provide our highest level of Service and Support that our valued Customers and Partners have come to rely upon.

At the direction of the Provincial Government, Dynamix will continue to maintain All Technical Support, Managed Services to customers deemed Essential Services as listed from the Province of Ontario Guidelines of Essential Workplaces.

While we continue to maintain the highest level of Service and Support during this time, all of your communications with Dynamix will continue uninterrupted. Listed below are some additional details for continued communications with us. All of our locations are available for immediate and prompt responses

Phone: Toronto 905-882-4000   Ottawa 613-724-4999  London 519-681-5000

Service@dynamix.ca for information on any support related inquiries or to schedule any service related issues.

Sales@dynamix.ca – for all sales/product related questions and up to the minute technology solutions to help you during this challenging time.

ALL of your regular contact information for any Dynamix Team Member including phone and email contacts remain unchanged and uninterrupted during this time.

On behalf of the Team at Dynamix, stay safe and if there is anything that we can assist you with please feel free to contact us at any time.

Dynamix

Our Facilis customers, please take note:

Facilis servers are designed for the local area network, but there are ways to make data accessible outside the facility.

Using a VPN

For customers with suitable networks, a VPN (Virtual Private Network) is an option. Using a VPN, external workstations with an internet connection can access content from your Facilis server. This relies upon the on-premises server being available and connected to the external network at all times, and remote downloads are limited to the upload speed of the facility internet connection. If you have a VPN, Facilis Technical Support (support@facilis.com) can help you with the configuration of your home systems.

Using Cloud

Another way to access data remotely is through the use of cloud storage. Facilis offers the Object Cloud feature for this purpose. Using the Facilis Object Cloud cache volume, securely uploading your internal media to the cloud is as easy as drag-and-drop. External workstations with an internet connection and the proper credentials can access files from the cloud explorer interface, and download to their home workstations. With Object Cloud, more workstations can be downloading content quickly, and you only give access to the content you choose. If you’d like to discuss further, please send us an email at don@dynamix.ca.

For more information on Cloud:

https://www.facilis.com/products-backup-and-archive/