In Broadcast - October/November 2011 - 47


OCTOBER/NOVEMBER 2011 | WWW.INBROADCAST.COM

InGEAR
Solid Progress In Tapeless Acquisition Cont.
software. These apps also allow technicians to view footage and to have immediate access to the metadata. Dedicated transfer and storage devices are popular tools for archiving data. Tools, such as Nexto DI 2525, Panasonic HPG10/G20, Panasonic Rapid Writer or a dedicated XDCAM EX device, like the Sony PXU-MS240 Mobile Storage Unit which comes with a removable 240GB hard drive cartridge, are designed specifically for data transfer. They are efficient, reliable and relatively affordable. High-end tools, like the MARVIN, offer very sophisticated archiving features. The MARVIN 800 can handle 800GB per day with 12TB of onboard RAID storage. It automates the creation of backups, LTO (Linear Tape Open) masters, QuickTime proxies for offline editing and DVD dailies as well as shot logging. As you can imagine, this is not a cheap solution! Finally, while some Panasonic cameras, such as high-end P2 models like the HPX-3700, can be used as P2 playback devices to record direct to HDD. Unfortunately they are quite slow. Far better are the new archive devices, such as LTO4 archive system from Cache-A or the new AJ-SF100 software from Panasonic that archives P2 content to Blu-Ray, linear tape or hard drives. the Nexto DI 2525 UDF Special. In short, the file format of the camera’s capture card must match the file format of the archive device. thermal decay. One technology that is increasingly popular for backing up tapeless productions is... tape! LTO is a cheap, dependable and high capacity solution; a LTO4 cassette can hold 800GB very cost-effectively (under £40). Perfect for larger archiving, the newly introduced LTO5 from a manufacturer like Sony can store up to 1.5TB (3TB compressed) and operate at up to 140Mbs.

Back To Base
For security, broadcasters expect that at least two copies of all media are made as soon as possible. Devices that rely on hard drives should be tested before the shoot as they can have a curtailed life

Getting FAT
On the issue of hard drives, it’s important to understand files structures. The FAT32 structure is compatible with PC and Mac and is used by most solid state cameras, such as all P2 and XDCAM cameras, as well as DSLR cams. However, it is hindered by a 4GB file size limit so larger clips may have to be spanned over different files. While the UDF file structure is free from this limitation, it is incompatible with FAT32. Therefore if ARRI’s Alexa or the Sony PMW-500 are set to record in UDF configuration, its cards can only be copied to a UDF-compatible device, such as

Secure Data
As long as the individual steps have been thought through and tested, the process itself is now remarkably straight-forward. With a labelled memory card full of clips (complete with rich metadata information), a device ready to store the data and the format tested to ensure that it is edit-ready, the transfer can now take place. To facilitate easy matching of clips and fast transfer to post, all the media should be stored together. The final stage is quickly to test and verify the media before it is used again.

Quantum’s LTO5 drive

span if left on the shelf. Unpowered for lengthy periods they are susceptible to data loss due to

47


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Table of Contents for the Digital Edition of In Broadcast - October/November 2011

In Broadcast - October/November 2011
Contents
3Ality Digital Acquire Element Technica
RTL Choses Quantel
Studios In Production
MAM Questions Answered
Changing Faces of Post Production
Microphones In Action
New Developments in Audio for Television
Routers and Switchers
Loudness Measuring in Workflows
In Broadcast - October/November 2011 - In Broadcast - October/November 2011
In Broadcast - October/November 2011 - 2
In Broadcast - October/November 2011 - Contents
In Broadcast - October/November 2011 - 3Ality Digital Acquire Element Technica
In Broadcast - October/November 2011 - 5
In Broadcast - October/November 2011 - 6
In Broadcast - October/November 2011 - 7
In Broadcast - October/November 2011 - 8
In Broadcast - October/November 2011 - 9
In Broadcast - October/November 2011 - 10
In Broadcast - October/November 2011 - 11
In Broadcast - October/November 2011 - 12
In Broadcast - October/November 2011 - 13
In Broadcast - October/November 2011 - 14
In Broadcast - October/November 2011 - 15
In Broadcast - October/November 2011 - 16
In Broadcast - October/November 2011 - 17
In Broadcast - October/November 2011 - 18
In Broadcast - October/November 2011 - 19
In Broadcast - October/November 2011 - RTL Choses Quantel
In Broadcast - October/November 2011 - 21
In Broadcast - October/November 2011 - 22
In Broadcast - October/November 2011 - 23
In Broadcast - October/November 2011 - Studios In Production
In Broadcast - October/November 2011 - 25
In Broadcast - October/November 2011 - 26
In Broadcast - October/November 2011 - 27
In Broadcast - October/November 2011 - 28
In Broadcast - October/November 2011 - 29
In Broadcast - October/November 2011 - 30
In Broadcast - October/November 2011 - 31
In Broadcast - October/November 2011 - 32
In Broadcast - October/November 2011 - 33
In Broadcast - October/November 2011 - 34
In Broadcast - October/November 2011 - 35
In Broadcast - October/November 2011 - 36
In Broadcast - October/November 2011 - 37
In Broadcast - October/November 2011 - 38
In Broadcast - October/November 2011 - 39
In Broadcast - October/November 2011 - 40
In Broadcast - October/November 2011 - 41
In Broadcast - October/November 2011 - 42
In Broadcast - October/November 2011 - 43
In Broadcast - October/November 2011 - 44
In Broadcast - October/November 2011 - 45
In Broadcast - October/November 2011 - 46
In Broadcast - October/November 2011 - 47
In Broadcast - October/November 2011 - MAM Questions Answered
In Broadcast - October/November 2011 - 49
In Broadcast - October/November 2011 - Changing Faces of Post Production
In Broadcast - October/November 2011 - 51
In Broadcast - October/November 2011 - Microphones In Action
In Broadcast - October/November 2011 - 53
In Broadcast - October/November 2011 - 54
In Broadcast - October/November 2011 - 55
In Broadcast - October/November 2011 - 56
In Broadcast - October/November 2011 - 57
In Broadcast - October/November 2011 - 58
In Broadcast - October/November 2011 - 59
In Broadcast - October/November 2011 - 60
In Broadcast - October/November 2011 - 61
In Broadcast - October/November 2011 - 62
In Broadcast - October/November 2011 - 63
In Broadcast - October/November 2011 - New Developments in Audio for Television
In Broadcast - October/November 2011 - 65
In Broadcast - October/November 2011 - 66
In Broadcast - October/November 2011 - 67
In Broadcast - October/November 2011 - 68
In Broadcast - October/November 2011 - 69
In Broadcast - October/November 2011 - 70
In Broadcast - October/November 2011 - 71
In Broadcast - October/November 2011 - Routers and Switchers
In Broadcast - October/November 2011 - 73
In Broadcast - October/November 2011 - 74
In Broadcast - October/November 2011 - 75
In Broadcast - October/November 2011 - 76
In Broadcast - October/November 2011 - 77
In Broadcast - October/November 2011 - 78
In Broadcast - October/November 2011 - 79
In Broadcast - October/November 2011 - 80
In Broadcast - October/November 2011 - Loudness Measuring in Workflows
In Broadcast - October/November 2011 - 82
In Broadcast - October/November 2011 - 83
In Broadcast - October/November 2011 - 84
In Broadcast - October/November 2011 - 85
In Broadcast - October/November 2011 - 86
In Broadcast - October/November 2011 - 87
In Broadcast - October/November 2011 - 88
In Broadcast - October/November 2011 - 89
In Broadcast - October/November 2011 - 90
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