Various Announcements from Convergent Design
 

Recommended Compact Flash Cards

After considerable research, we can now recommend the following Compact Flash (CF) cards for Flash XDR:

Transcend 32GB 133X - Data-rates up to 100 Mbps
Transcend 16GB 300X - Data-rates > 100 Mbps

The 32GB card is widely available for around US $150 to $165, while the 16GB card is just starting to hit the retail market at US $240. On a GB basis, the 32GB card is 1/10 the price of other professional solid-state media.

CF speed ratings are based on the old audio CD rate of 1X = 150 KBytes/sec, so 133X = 20 MBytes/sec (or 160Mbps) and 300X = 45 Mbytes/sec (or 360 Mbps). But be aware that this number often refers to the read speed and not the write speed (which is normally lower).

The Transcend 133X 32GB card is a real performer, with read speeds of 41 Mbytes/sec (275X) and write speeds of 16.6 Mbytes/sec (110X). The 300X 16GB, on the other hand, is an absolute screamer with read and write speeds of almost 50 Mbytes/sec (333X).

Both cards employ UDMA (Ultra DMA) read and write transfer protocol. The 32GB card uses UDMA-4, while the 16GB card uses the newer UDMA-5. UDMA enables long burst transfers of up to 128 KBytes without host intervention. On our Flash XDR, all video and audio transfers to and from the CF cards are handled in hardware, for the absolute fastest possible performance. (No dropped frames).

As data is written (or read) to the CF card, a 16-bit CRC (cyclic redundancy check) is generated over every 512 bytes by both the controller (Flash XDR) and the CF card. These CRCs are continuously compared to ensure reliable data transfers. Any errors are reported to the user on the LCD screen (in flashing text!)

The 32 GB card uses multi-level cell (MLC) technology, which stacks 2-bits of memory in a single cell site. The higher-performance 16 GB card employs a single-level cell (SLC) design with 1-bit per cell site. Clearly the MLC approach allows designers to cram more bits into a given area of silicon at the cost of lower access speeds (the write times are 2x to 3x that of the SLC design). Naturally, the MLC NAND Flash is about 1/2 the cost of SLC.

The NAND Flash memory found in Compact Flash cards is exactly the same memory found in iPods, iPhones, Cell Phones, P2 / SxS cards, and Solid-State Hard Drives. The only difference is the controller interface (CF and P2 cards uses a parallel interface, while SxS uses a serial interface). Over the the last 4-5 years, Flash memory prices have been declining at the rate of 40 to 50% per year. There is every indication that this trend will continue into the foreseeable future.

Compact Flash offers relatively low-cost, very low power consumption (compared to hard-drives or tape drives), no moving parts, very long-life, small size and fast read and write access. They can be hot-swapped for endless record times. And to keep the costs low, CF cards are widely available from multiple vendors.

Unlike hard-drives, which exhibit slower read and write access as they become full, Compact Flash offers very uniform performance no matter has much data is on the card. CF also offers faster than real-time read performance. Using the 32G card and recording at 50Mbps, you can transfer the data via a Firewire-800 reader at rates up to 41 Mbytes/sec or more than 6X real-time. So you can easily edit directly from the CF card, although it's best to use a hard-drive to store your project.

I think one of the most exciting features of the CF interface design on Flash XDR is the ability to record to two cards simultaneously (RAID-1). Using Compact Flash it's now economically feasible to record the same video to multiple cards. So after a shoot, you can instantly hand off one card to the editor and another card to the director/producer. Or you can lock up one card as a backup and send the second card to post. (Try doing that with a tape deck!)

I'll have another post shortly on recommended CF card readers.

Mike Schell

Top Ten Reasons to Go (Solid State) Tapeless
 

Here's our list of the Top Ten Reasons to Go (Solid-State) Tapeless, as compiled by our staff and with suggestions from Dan Keaton. We would be interested if anyone has additonal thoughts or comments.

1) No Digitization/Capture
a. No need to digitize (convert from analog to digital) your analog video tape or to perform a laborious 1X capture of your material (no more batch captures).
b. Edit instantly from the solid-state media (card).
c. Transfers to other media (hard-drives) are performed at speeds much greater than real-time (typically 3x to 6x)
d. Random access to any frame in any clip, no need to fast-forward / rewind tape.
e. No drop-outs or time-code breaks!

2) No Deck Required
a. Significant initial (purchase) cost savings as well as long-term maintenance (head/drum replacement) cost savings.
b. Solid-state memory card readers are very low in cost (US $60), very reliable, and do not require maintenance.

3) Lower weight, size, noise, vibration and power
a. Much lower weight (3 lbs vs. 5 ~ 50 lbs)
b. Much smaller (1/4 to 1/10 the overall volume)
c. Zero noise (no fans)
d. No vibration (no moving parts inside)
e. Very low power consumption (12W vs 40 ~ 100W)

4) Performance increases as size decreases
a. Hard-drive performance decreases with smaller physical size drives (due to slower rotational speeds). For example, 1.8” drives don’t have insufficient I/O performance for data-rates much above 35 to 40 Mbps. Hard drive performance also drops off as the volume reaches capacity.
b. Solid-state performance, on the other hand, improves with decreasing chip size and the performance is uniform across the entire volume.
c. Tape storage capacity is directly related to the physical size of the tape for a given technology. If you want more capacity on your tape, you have to buy a physically larger cartridge. Solid State media capacity continues to double every 12-18 months, while the physical size of the media remains constant.

5) Superior Reliability
a. No mechanical parts to fail / tape to jam.
b. Much better reliability in harsh conditions.
c. Will work in extreme conditions, where a tape-drive will likely fail, such as in very high humidity.

6) Instant Replay
a. Instant review of just recorded footage can revolutionize shooting on the set. Catching problems while on the set, before striking the set, can be priceless. The director can ensure that he or she has the desired footage without any worries about rewinding tape or time-code breaks.
b. Even during a playback session, recording starts immediately, as appropriate, without a delay to reposition the tape.
c. The system is ready to record instantly, even during a playback session. All recording is done after the last recorded file, no need to position the tape. No danger of recording over valuable footage, one of the main reasons that rewinding and playback of tape is discouraged on the set.

7) Redundant Recording
a. Identical video can be written to multiple cards simultaneously, an impossible option with tape and difficult to achieve with portable hard-drives.
b. In the unlikely case of a media error, the other original will be unaffected.
c. Individual masters can be transported via independent means for safety.
d. One card can be handed-off to an editor, while a second card is given to the producer/director for review on a PC/MAC.

8) MetaData Support
a. The ability to document and record extra data about each take is very useful in post and while reviewing footage.
b. User specified metadata can be very useful for a production (director, cameraman, take, event, location, camera number, etc.)
c. Custom notes about a take can be recorded with the audio and video.
d. Takes can be easily marked as Bad, Good, or “Best”.

9) Wider Operating Environment
a. Solid-state media works at extreme hot and cold temperatures.
b. Hard disk drives cannot be used at high altitudes or in very cold conditions.
c. Few problems from condensation when going from one environment to another.
d. Operates in high G-Force conditions (airplanes, helicopters, race-cars), where tape or hard-drives would fail.

10) Ever decreasing costs
a. Tape costs have bottomed out and show no signs of further cost reductions.
b. Solid state media has a significant track record of providing higher capacity and lower cost each year.
c. Solid state media is already used in many professional environments (such as digital cameras).
d. Our industry can benefit from the widespread use, wide availability, high volume, and low cost of solid-state media (such as CompactFlash).

Changed to Top Ten

I will be quiet for a while.
 

Mike Schell is currently at IBC.

I will be out of touch for quite a while so I will not be able to respond promptly to any posts.

I will attempt to answer any questions as soon as I can obtain access to the internet.

I am certain that Mike will answer your questions as time permits. It gets very hectic at the major trade shows.

I would be nice for anyone who has seen the HD footage, as recorded by an "Alpha" unit, and shown at IBC to post their comments.

XDR Firmware Updates
 

Does installing the latest firmware update include ALL the other firmware updates?

or do you have to install each individual firmware update to obtain all the advances in funtionality?

Thanks - hope IBC is going well for you all.

Hi John-
You just need to install the latest firmware as it includes all the previous updates.

IBC went extremely well, lots of traffic and great comments. We played some gorgeous airplane footage from OnBoard Images with smoke, water and lots of high-motion content. We saw no dropped frames or artifacts whatsoever.

QuickTime almost ready
 

We are almost ready to release the firmware for Quicktime support. Our engineers had playback working this afternoon. About 95% of the image is correct, but we still see some macroblocks and random hits in the video. So, we clearly have a few bits or bytes to correct.

But, I am extremely optimistic that we can release a firmware update soon for Quicktime support. The CF cards will have .mov files which can be played in FCP directly.

MXF should follow in October.

Impressive. We are looking foreward to the Nano for our next big thing

Flash XDR Saves The Day!
 

Check out this story posted by Jeff Silverman of Inertia Unlimited:

Inertia Unlimited, Ltd. - Welcome

Latest Flash XDR / nanoFlash Newsletter
 

In case you are not on the mailing list, here's the latest newsletter:

Flash XDR now Shipping
Limited quantities of Flash XDR are now shipping. We have increased our production by 50% for October and November in hopes of reducing our backlog. We are trying our best to keep up with the phone calls and e-mails. We can help with technical questions, but would ask everyone to contact your local dealer for purchase inquiries. Please support your local dealers who will then be motivated to support you!

Flash XDR wins Best of Show Award at IBC
Flash XDR won its’ third prestigious award at IBC last month in Amsterdam. In addition to the Viddy (Videography magazine) and Pick Hit (Broadcast Engineering magazine) awards from NAB, Flash XDR was awarded the Best of Show from TVB-Europe magazine. Flash XDR was featured in the popular “What caught my eye”, presented during IBC.

QuickTime Alpha (Version 0.0.117) Available for Download
An alpha version of the Flash XDR firmware with QuickTime file support is available for download (Convergent Design, experts in HDMI, SD, HD, and HDV ) . This firmware supports the 4:2:2 MPEG2 CODEC (XDCAM HD), which is available on Final Cut Pro Vr 6.04. Using a Firewire-800 Compact Flash Reader (such as the Lexar) you can play files directly off the CF card, without re-wrap or transcode. Just pop the CF card out of the Flash XDR, drop it into the reader and double click on the file for playback!

The current QT firmware supports 1080i59.94/50 and 1080p29.97/25/23.98, but not 720p or 1080psf formats. The 720p format will require additional work to align the audio to the 12-frame GOP, while the psf format requires an interlacing of the video. We expect the psf support to follow in the next few days and 720p support early next month.

Special note: to the best of our knowledge, all Sony cameras use the psf format for all progressive formats. The psf format transmits a progressive frame as two interlaced fields. So, 1080psf29.97 will appear as 1080i59.94 to the Flash XDR. We are adding a simple menu selection to force the interlacing of the fields (to produce a true progressive frame) inside of XDR.

Final Cut Pro allows a mixed CODEC mode in which the timeline is set for the MPEG2 playback, but effects are rendered in ProRes. This can be a powerful and time efficient mode of editing. Native MPEG2 frames can simply be played back out of the timeline, while effects are rendered using the high-quality ProRes CODEC. This mixed mode is much faster than using a pure MPEG2 timeline, as effect rendering would take considerably longer.

Special note: Please use firmware version 0.0.115 for all serious production work and this QuickTime Alpha for development of your workflow and evaluation of the video and audio quality.

QuickTime Playback on the PC!
Calibrated software offers a low-cost application for playback of our 4:2:2 MPEG2 files on the PC. More info on this very useful program can be found at: Calibrated{Q} XD Decode They also offer a MAC version for users who do not have FCP.

NLE Support Expands: First Final Cut Pro and now Avid and Vegas Support
Avid (Media Composer, Symphony and Newscutter), Sony Vegas and Final Cut Pro now support the 4:2:2 MPEG2 CODEC used in Flash XDR and nanoFlash. QuickTime file support will enable seamless operation with Final Cut Pro, while MXF will be the choice for Avid and Vegas. (We expect to release MXF support in November).

We can also confirm, that our Quicktime files can also be converted to the high-quality Cineform CODEC, further expanding your editing options.

Transcend 133X 32GB Compact Flash cards drop below US $85, 64 and 100 GB cards Announced
The Transcend 133X 32GB CF card, which we have certified for data-rates up to 100 Mbps, is now available for under US $85. The price of this card has dropped from $230 to $85 in the last 15 months! (Check Portable Storage, Media Viewers, CompactFlash, Secure Digital, SDHC, SD Cards, and SSD! or Newegg.com - Computer Parts, PC Components, Laptop Computers, Digital Cameras and more!)

Microdia has announced a high-speed 64GB card, while Pretec has trumped everyone with a 64GB and 100 GB CF card; both due before the end of 2008. The price and density of CF cards should continue to drop and increase respectively for the foreseeable future. At this rate, CF cards will drop below the price of professional HD tape sometime in the next 6 months.

Sonnetech announced a new dual CF card to Express 34 adapter Sonnet - News: IBC 2008 New Product Announcemenets with blazingly fast performance. Although we still recommend the Lexar Firewire-800 reader for most applications, since you can daisy chain up to four readers on a single Firewire bus.

Bebob, Anton-Bauer and Dolgin Introduce Sony EX3 batteries with D-Tap
Bebob, Anton-Bauer and Dolgin have all announced large batteries that can be mounted to the back of the popular Sony EX3 camera. These batteries also feature a D-Tap power outlet, which will enable the XDR / nanoFlash to be powered off the same battery. We are working on various mounting options and hope to have detailed drawings soon.

nanoFlash Update
We continue to make solid progress on the nanoFlash, which is unfortunately behind schedule due to resources being allocated to Flash XDR. We hope to demonstrate a prototype next month at the InterBee show in Tokyo and begin production shortly thereafter. There will be a significant announcement about nanoFlash in the near future.

Feature Rollout Plan
Here’s a rough schedule of our Feature Rollout through 2008

October 2008:
QuickTime Support
1080psf support
ASI Encode and Decode
Basic Menus

November 2008
MXF Support
24p Pulldown removal
720p in QT and MXF
Expanded Menu Control
Uncompressed Support

December
Standard-Def Support
RAID1 (Mirroring)


As always, we appreciate your continued suggestions, recommendations and patience!

evaluation support for psf released for Flash XDR, version 0.0.124
 

Version 0.0.124 is now posted on the Convergent Design website, evaluation version for 1080 progressive segmented frame 24, 25, and 30 in Quicktime file format. PSF is common with Sony cameras in particular.

Convergent Design, experts in HDMI, SD, HD, and HDV

This release is primarily to evaluate the video quality of the various psf frame rates recorded as progressive video.

To record psf video in progressive format, on the menu of the Flash XDR choose Video->PSF->In (checked). If you do not check the box, psf video will be recorded as interlaced (except for psf 24 frame, which always records as progressive). See the menu status line to determine exactly how we are interpreting the video.

We do not have playback working quite yet with Quicktime, only record at this time.

Tommy Schell

Just to be clear: Quicktime files recorded by the Flash XDR, onto the CompactFlash cards, can be played back or used as input to FCP or other appropriate Non-Linear Editors.

Just take the CompactFlash card out of the Flash XDR and insert it into a CompactFlash card reader attached to your computer.

Current releases of Final Cut Pro, releases 6.0.2 and above are capable of processing the 4:2:2 Quicktime files that we create.

As I understand it, at this time, the Quicktime Player does not handle 4:2:2 Quicktime files.

Currently, within the Flash XDR itself, we can record Quicktime files to the CompactFlash cards, but not play them back.

To enable both Record and Playback from within the Flash XDR, select the "CDV" as opposed to "QT" on the menu.

We are expecting full Quicktime record and playback, from within the Flash XDR, in the next release, which is expected next week.

Flash XDR version 0.0.138 posted
 

Flash XDR users:

beta version 0.0.138 has been posted to our website:

Convergent Design, experts in HDMI, SD, HD, and HDV

This version features improved record reliability in the Quicktime format,
and Quicktime playback is repaired.
"Play All" and "Play Last Clip" are available.

Tommy Schell

New XDR 58 Page Manual
 

For those who may have missed it,

there is a 58 page manual for the XDR now posted on the C-D website under the XDR product page.

http://convergent-design.com/Updates_FlashXDR.htm

Flash XDR at BandPro (Burbank, CA) on 11-Dec
 

Convergent Design will be demonstrating the Flash XDR at the BandPro Open House next Thursday, Dec 11th from 1:00PM to 8:00PM. BandPro is located at 3403 West Pacific Ave in Burbank, CA.

If you would like to attend, please send an e-mail to sales@convergent-design.com before end of day 5-Dec-08. I will forward the registration details.

Thanks-

MXF Support Very Close
 

This afternoon we successfully captured (using the Flash XDR) and played back MXF files (in both 1080i60 and 1080i50) using Sony Vegas. The files included both 100Mbps video and 24-bit uncompressed audio. The video and audio quality were identical to QT in Final Cut Pro.

We will need a few days to test all the various formats (1080p, 720p, etc) and to perform reliability tests (by recording clips to numerous XDRs loaded with 4 CF cards). We will also need to complete tests with Avid, Premiere and Edius. But, we now have the basic MXF technology developed.

Tommy, our MAC software developer, should have a QT <-> MXF converter in a few more weeks. This converter will be available to all Flash XDR/nano users at no cost. It will not be a universal converter, but will work with the files generated by our products. Both PC and MAC versions of the converter will be available.

After MXF support, we will concentrate our efforts on playback of selected clips followed by expanded format (720p30/25/24) and bit-rate (160, 35, 25, 18 Mbps) support.

Mike,

Since your programmer has to go there anyway, is there ANY way you guys can make the tool transcode between OP1 and OP1a MXF files? I'd pay money to have a tool that could take an Avid MXF and open it in ANYTHING else. That would finally enable me to use Metafuze in my workflow.

Thanks,

-P

Request for Photos
 

We are currently editing a promo for the Flash XDR.

We would like to include some photos of the Flash XDR in use on various cameras.

Currently the Flash XDR is being used in some very exotic locations around the world as well as a in more typical environments.

If you would allow us to include your photo, please email it to

sales---- @ Convergent-Design . com. (Please eliminate the "----" and the extra spaces).

Viper plus Flash XDR - Kitchen Shoot
 

Viper with Flash XDR: Kitchen Test for Film Work….

It has been our pleasure to work with Mr. Richard Welnowski for the past few weeks.

Richard is a recognized expert and has over 400 shooting days with the Thompson Viper.

We encourage you to visit Richard’s website to learn more about his experience and achievements: Compositing Expert.

As part of his thorough, and very technical evaluation of the Flash XDR, Richard has shot under very demanding and difficult conditions.

His goal was to determine if the Flash XDR was a useful recording device for the very high-end Thompson Viper under the most demanding of conditions.

The Thomson Viper can shot in four modes. The following information is from the Viper Spec sheet.

1. FilmStream 4:4:4 logarithmic output: Uncompressed, uncompromised, unprocessed output.

2. A 4:4:4 RGB video output, a full-bandwidth, full-resolution processed mode with color balance, colorimetry, gamma, highlight handling and detail enhancement already performed in-camera.

3. HDStream mode provides for wide-latitude image capture while providing 4:2:2 HD and is very similar to FilmStream in that it is also a logarithmic output.

This mode also allows for color balancing to true 3200 or 5600 degree Kelvin, but is otherwise unprocessed which allows for full processing in post as this is close to a raw mode.

4. YUV mode which is a fully processed mode in which the image is processed prior to sending the signal out via the HD-SDI port at 4:2:2.

The Flash XDR, being a 4:2:2 device, can record Viper modes 3 or 4.

Processed modes allow you to see an image on-set, directly from the camera on a HD-SDI monitor.

Unprocessed modes allow you to preserve the most image quality so that all image-grading options are available for post. These unprocessed modes help maintain a wide image latitude.

Richard uses “Speed Grade On Set”, a high-quality inexpensive software program that allows color grading on set. The software allows for the creation of LUT’s (Look Up Tables) on-set to achieve a particular “look”. These LUT’s can be saved and transferred to post.

In post, a higher-end “Speed Grade DI” may be used.

In FilmStream mode, due to the unprocessed nature of the image, it will appear flat with a green cast on a monitor. The HD output, however, can be color corrected by choosing true 3200 or 5600 degrees Kelvin in-camera.

One of the great advantages of the unprocessed modes is the ability to capture images with a wide-latitude. The logarithmic (log) output is a key to providing this wide-latitude.

The kitchen set would normally be very difficult to work with due to the nature of the lighting and wide lighting ratio. The bare fluorescent lamp would normally have to be gelled and the lighting ratios controlled.

Richard likes the flexibility the Viper provides, in that the time normally spent to light a demanding scene such as this can be avoided, while still achieving excellent results. This shot was setup and all of the images recorded in less than 10 minutes.

In the following images from the shoot, the images on the right side were images processed in the camera, “YUV” mode, Mode 4 above.

The images on the lower right have had “Black Stretch” applied.


The images on the left were HD Stream mode, Mode 3 above.

The image at the top left was not color corrected, so you will see the green cast.

The image at the lower left was color corrected using “Speed Grade on Set”.

Richard spent about 2 minutes color correcting these images.

While the Flash XDR is an 8-bit recorder at this time, the color correction was done in 10-bit mode, which allows for the fine adjustment of the images.

Since the images (on the left) were recorded in logarithmic mode, the wide-latitude was preserved.

Richard feels that these images would transfer very well to film.


Images with Comments:


Please remember, the image on the lower-left is the image we would normally use, as it has been color corrected.

First we have the four full frame images:

http://convergent-design.fileburst.c...llframe-Cc.png



The following is a portion of the full frame image: (Zoom Ratio 100%)

Please look to the thumbnail image on the upper right to see how much these images have been enlarged.

http://convergent-design.fileburst.c...100Percent.png



This is enlarged even more: (Zoom Ratio 200%)

http://convergent-design.fileburst.c...200Percent.png



The following is the full frame, untouched image, with the green cast, using Mode 3. This is the raw image that was color corrected to produce the images in the lower left of the above image.

http://convergent-design.fileburst.c...kitch-THRU.tif





The following are Richard’ s own words on this “Kitchen Test”.

Viper + Flash XDR extended latitude, kitchen test for film work….

How will this look?

One of the difficult situations: fluorescent bulb at 6", close distance to the wall or kitchen items, always create problems. In usual film work we use gray filters over bulbs to reduce the light or we spend time for setting lights at the front, to reduce contrast and not burn details in highlights. In this frame white AC outlet and wall will create an issue.

The Viper sensitivity and latitude is amazing! I almost do not use any lights in real film world. This was a similar situation when we shot feature film No Network (we shot in Film Stream, wide 2.35:1, uncompressed RGB, 4-4-4).

In my kitchen test, I did not use any extra lights; just available light, no filters over fluorescent and I did not color balance camera, just used presets for processed mode.

To get as close to cinematic look in processed mode I reduced in Viper setup contour to very low amount (in Viper contour, called also enhancement or detailing in other cameras in processed mode).

I also used no Black Stretch or Black stretch ON to extend for more details in blacks with processed mode. In HD Stream mode all this is OFF anyway and we deal with frames in post.

Frames shot in HD Stream I checked in Photoshop and graded quickly in SpeedGrade on Set - great program from IRIDAS - which will grade the image for look as director or DP wish and create Lookup Table for use with footage at later time.

I could have spent more time with this frame but this was for a quick result, two minutes to play with. Processed YUV frames I color corrected a bit as I shot these on presets and with fluorescent light any preset will not work.

The results - were great surprise!

Latitude was extended at least 2 f-stops when captured in HD stream; you do not see highlights burning in AC outlet or on the wall, and there are a lot of details in dark parts of the image.

Clean colors, depth of field is minimum, lens fully open give good cinematic look. Noise is minimal, as all processing amplifiers are shut off, picture is clean and smooth. This is a great film frame!

I compared these frames to my old frames captured with the highest quality RGB, 444 and I can say that with Flash XDR setup I can shoot independent films for a lot less money with great work flow and super cinematic clean look, outperforming many big guns workflow.

I attached an unprocessed HD Stream frame for you to play with and screen shots from Photoshop comparing all four images: HD stream Thru (green cast) and graded frame below, also frames shot in processed 422 modes, normal and Black stretch on with minimum contour setup.

I also have attached a full frames comparison, 100% view crop and 200% view crop to compare for highlights and noise in processed frames and unprocessed HD Stream frames.

In my opinion all these frames will print well on film.

But in the real world, I will re-shoot this setup only for processed mode.

I should be very careful, and remember that I do not have latitude 11 f-stops or more as I have with HD Stream, therefore I should compensate with lighting setup and gray filters to minimize contrast in frame.

I shot this test in about 10 minutes and with my MacBook Pro, I spent about 2 hours to analyze footage and frames.

If you want to see more about my projects you can visit my site:

Compositing Expert.

Richard
__________________


Richard has purchased a Flash XDR and intends to promote the use of the Flash XDR, with his Viper, for independent film work.
We wish to thank Richard for his tireless work in evaluating the use of the Flash XDR with his Thomson Viper.

Flash XDR at Broadcast Video Expo, 17th-19th February
 

Hello,

Just a quick reminder for all those attending Broadcast Video Expo at Earls Court in London next week; the Flash XDR is being showcased at Symbiosis' stand.
Polecam have been kind enough to lend us a full polecam setup for the stand so we can demonstrate the Final Cut Pro workflow for the XDR, from acquisition through to editing.
Convergent Design's Dan Keaton will also be joining us, so please feel free to drop by and have a chat.
We're on stand G20, right in the middle next to Sony and JVC.

Quicktime to MXF converter posted
 

Hi,

We've posted a Mac-based converter for the Flash XDR, which takes our Quicktime (MOV) files and re-wraps them as MXF files, available here:

http://www.convergent-design.com/dow...verter_0.1.zip

As Quicktime is the primary file format for NLE's on the Mac, and MXF is compatible with most NLE's on the Pc, this tool allows for the creation of MXF copies to be made, so as to edit on both platforms if necessary.

The conversion process does not effect the data, it is a re-wrap of the data.

The converter can take up to 4 source folders (which can be CF Volumes), and converts all MOV files in the selected folders to MXF files. The original MOV files are left intact.
If a }CLP{ folder is found in the source folder (as is the case with cards recorded on the Flash XDR), the }CLP{ folder is then used as the source folder.
Lexar makes firewire 800 readers which can be stacked on the same firewire bus into the Mac (up to 4), so in theory a person could insert 4 cards into 4 readers and have all the files converted in 1 session.

The converter is not a generic conversion tool, it can only handle files generated on the Flash XDR.

More tools are in the works, such as MXF to Quicktime.

Tommy Schell

Video Assist and Flash XDR / nanoFlash
 

We are hearing more and more requests to use the XDR / nano as a video assist tool for multi-cam productions. Most users want the ability to playback a selected "take" from all cameras simultaneously and then to select an output via an HD-SDI switcher. We're also getting requests for uploading metadata into each of the XDRs/nanos on set.

We're looking into a simple RS485 2-wire connection to each box and a program on a laptop or hand-held PC to communicate with all boxes (via a USB to RS485 converter). We could also make one of the XDRs/nanos the master device to drive all the other units in the RS485 chain.

I would welcome your comments and recommendations.

Thanks-