At BandPro Film & Digital‘s annual open house and holiday get-together in Burbank, dubbed One World on HD, vendors showcased products; clients mingled, and the festivities included Mexican food, margaritas and drawings for prizes.

Chris Pfaff, photographer

Chris Pfaff, photographer

On the show floor, three companies showed new products. Media Distributors debuted a mobie archive and edit system, which production company was Yates & Parks Consulting used in Kona, Hawaii for the Ironman Triathlon on Oct. 10 through 12. “It all folds up into two cases,” explained senior account executive Nathan Adams, who reports the program aired on NBC. “In addition to Final Cut Pro, the system includes an AJA card that ingests the material, both SD and HD, and Facilis 12-terabyte SAN that enables file sharing.” NBC had four Media Distributors’ mobile systems, all connected by the Facilis SAN. The production shot with several cameras, including the Panasonic AJ-SDX900 and AJ-HVX900.

“They solved two problems,” said Adams. “They could distribute

Media Distributors' Adams - Photo by Chris Pfaff

Media Distributors' Adams - Photo by Chris Pfaff

material to everyone on the production, and they had redundant storage. The material only lived on the SAN, because they wanted to be able to work seamlessly. They edited everything like it was dailies, and also had shot a lot beforehand and that material was also on the SAN. Yates & Parks Consulting was the production company, and they delivered a cut before they left Hawaii.”

Codex Digital showed its latest iteration high-resolution digital recording and management system, which not only incorporates Technicolor DP Lights on-set look design, but has expanded to include Filmlight’s Truelight color management system, which is compliant with the ASC’s Color Decision List. Filmlight’s Truelight is integrated into the Codex Digital system, which enables a cinematographer to create a look and then take those values and preserve them as metadata. A LUT can be created dynamically and on-the-fly from that metadata or even baked in to the offline without impacting the source material. The system can apply a LUT to a sequence, rather than all the footage, and it can also preserve several LUTs for the same segment. “You’re looking at the future,” said Rufus Bruham of The Camera House. “We got into the tapeless workflow and Codex perfected what we were looking for.”

S.two unveiled its OB-1 in a first public showing of this camera-mounted 3D-capable uncompressed recording device. The magazine-like recording device can attach to a range of cameras, including those from Sony, Panasonic, ARRI, and Thompson. It can recording at 4K uncompressed 4:4:4; HD 4:4:4 records 46 minutes, and ARRI RAW 3K records 30 minutes. The system records to Flash memory, not disc drives, which makes it more rugged. The product will ship in February in volume, and sell for under $10,000 for the magazine. An S.two spokesperson noted that a production could easily get by with two magazines, and that a project using the new magazines was expected to complete production prior to NAB 2009.