I had the chance to check out Cinedeck at NAB 2013.  Here is a rundown!

CINEDECK Cinedecks motto is your workflow your way and what that means is the ability to take multiple streams, ingest those, creating multiple formats of your choice so you have all your traditional editorial formats like ProRes, DNxHD and those can be recorded out to separate locations so it makes it very very flexible as far as what you’re ingesting, how quickly you’re getting it in, what you’re creating and where it’s going to.

So Cinedeck have a couple of different products.  There is the Cinedeck RX which allows simultaneous two inputs and there is the mx model which is a 4 input system.  So with the MX, for instance, you can have up to 8 encodes simultaneously in real time.

You can be recording to fixed or internal media.  Inside there is SSD chassis so you can have up to 8TB internal and you can also hook up through 10GigE, fibre, GigE, any kind of removable storage and there is USB3 and eSata available as well.

CINEDECKNew for the show is support for ARRI raw.  So it can record arri raw with a proxy file and that proxy file can actually have a LUT burned into it.  So your proxies can go on your Avid ISIS, or SAN ready for editorial with your colour grade already applied to it. 

There is also enhanced deck control so the cinedeck can be used as a master or a slave device.  So it can trigger decks to record or be triggered by decks to record. 

Lut support is another big feature.  They also introduced segment recording or chunking, some people know it as.  Funny name..  So as you’re recording you can wrap the files in any user defined time so if you want editorial running 10 minutes or half hour behind camera shooting it can generate files that are loaded onto an ISIS or any kind of SAN that editorial can pick and start using.

It also has some many other functions  - it can be a monitor, a record deck, a playback for dailies, a camera assist.  It packs a lot of power. 

I really love this slide now it might be a little hard to read but what is it illustrating is all the codecs it can handle.  I love taking this out when doing sales calls.  So just to recap it can encode to multiple formats simultaneously.  So you can do ProRes and DNxHD which can be a tremendous time saver because you’re not having to transcode. 

A lot of people will record straight onto a ISIS and what is really awesome is Cinedeck is working on a plugin to automatically check files in through interplay to further reduce the errors that are associated with human operation.  The fact that you can just hook up to an ISIS and pump footage on there that your avid editorial, your finishing symphony guys have immediate access to those files when they are shooting them.  Its brilliant.  There’s no faster way to work. 

So you think about shows and who traditionally would use an onset DIT.  There is the process of taking cards and processing those, you’re always 4 or 5 hours behind camera which is an issue when everyone wants to shut the lights off and go home and have dinner.  This alleviates a lot of that pressure. I could see some of the smaller RX units being on a cart side by side with the digital dailies process and guaranteeing editorial that yes you can your files as soon as that camera shuts off.

Now what about 4k.  This was the buzz word at NAB we couldn’t escape from.  Last time is was stereoscopic.  Cinedeck has announced it will be supporting the Canon C500 for IBC timeframe and also the Sony F55.   Pretty cool huh!