Earlier this week, AJA announced the newest member of the Ki Pro family, the Ki Pro Quad. AJA worked closely with Canon, designing the Ki Pro Quad to accept a 4K raw signal from the C500 over SDI and providing a method to record and monitor the signal.

Nexto's NVS series of backup devices just got a feature upgrade with the addition of Wi-Fi to the NVS2525 portable storage device.

With the Sony F65 and the SR-R1 recorder come a new set of workflow processes. At AbelCine, we are always trying to stay ahead of the curve, even as technologies such as these are evolving. Sony's F65 and the SR-R1 both record to SRMemory cards, which are high-speed memory that enables recording of F65RAW video at up to 120 fps. To work with these cards, Sony has released the SR-PC4 and SRPC-5 transfer stations, which present a unique way of playing back and downloading content.

With every new camera, comes many new questions about workflow. The term 'workflow' can be fairly broad, but today I am looking at importing C300 footage into various non-linear editing systems (NLE). The C300 uses the same workflow as the Canon XF series of cameras (which includes the XF305, XF300, XF105 and XF100), because it records in the same format. However, the tools for importing the footage have been updated by Canon. Below, I outline how to ingest footage onto a hard drive, and how to import into Avid Media Composer, Final Cut Pro 7, Premiere 5.5 and Final Cut Pro X. Keep reading for a brief how-to on each process.

Upon hearing the term Asset Management System most production people think of a tape library or a system to keep track of equipment. In today's world of tapeless acquisition, our master assets are digital, and a comprehensive method to keep track of them is usually referred to as a Digital Asset Management system (DAM). The term Media Asset Management System is also widely used, and for our purposes they are interchangeable.

Many productions today consider the archiving of acquisition media something to be dealt with after completion of the work. Other projects consider the backing up of original data onto additional hard drives as their archive. These, however, do not utilize the organizational and long-term advantages of a proper archival system.

It occurred to us when creating the Camera Mounted Recorders comparison chart that there is often confusion around different HD formats. In 2009, I wrote up a blog titled Making Sense of HD Formats that covered the different HD formats used today. But what I didn't go into was those other words and numbers that we often see associated with a video compression format: bit rate and bit depth.