One of the various the reason why Fifty Frames isn’t afraid of a problem is the common use of know-how like AJA JA Ki Pro Ultra 12G recorders, and different gear from AJA, throughout tasks.
Trained to anticipate the sudden, Fifty Frames (GmbH) Founder Christian Heinzel sees each stay occasion manufacturing or set up as a possibility to embrace rising methods and confront challenges head on. It’s one thing he places into apply almost day by day as proprietor of a boutique store that’s trailblazing 4K HDR and IP stay occasion manufacturing and video streaming workflows for luxurious automobile manufacturers, bands, and main companies throughout Europe.
While his workforce is unafraid of a problem, they’ve come to rely on AJA gear to supply a degree of certainty in excessive strain environments. It’s one in every of many causes, Heinzel says, they commonly make use of know-how like AJA Ki Pro Ultra 12G recorders, FS-HDR real-time HDR/WCG converters, and KUMO 3232-12G SDI routers throughout tasks. Here is their story and a few real-world examples about their manufacturing workflow, shared by the corporate.
Capturing the unseen: A secret UltraHD HDR recording
Fifty Frames not too long ago covertly produced an UltraHD HDR live performance for a German punk band, designed to forestall efficiency anxiousness the band beforehand felt when made conscious of live performance recordings. The three-day occasion came about on a former airfield in Berlin and drew in an viewers of greater than 150,000 followers. Upon receiving the primary stage and LED display drawings, Heinzel realized the occasion’s huge scale. Recognizing the nontraditional nature of the idea and use of UltraHD screens, he opted to supply in UltraHD and faucet into HDR to make sure extra hanging visuals.
“The lighting situation was quite complex, and we knew it would include changes from bright to dark and a lot of effects that you normally don’t see. SDR wasn’t an option because we’d need camera shaders all the time, whereas, with HDR, we knew that we’d get a bigger dynamic range so we could see all the light, but it wouldn’t come across as overexposed,” he defined.
Due to the clandestine nature of the recording, his workforce strategically positioned the ten distant and broadcast grade cameras out of the band’s sight strains. Over the course of the three-day manufacturing, the workforce collectively captured 75 terabytes of footage from the cameras utilizing 14 AJA Ki Pro Ultra 12Gs. “The Ki Pro Ultra 12G was an easy choice,” Heinzel recalled. “It’s reliable, affordable, and flexible. I can record eight HD camera feeds with just two units, saving rack space. Plus, I don’t need a specialist to operate it.”
Heinzel’s workforce then shade matched the combo of distant and broadcast grade cameras utilizing AJA FS-HDR. Heinzel famous, “FS-HDR is an absolutely brilliant tool for color matching cameras; it’s truly a Swiss Army knife for color conversion.”
Finding distinctive options to distinctive challenges
Heinzel and his workforce have tackled many different outside-the-box productions as nicely. While beforehand engaged on an HDR stay occasion challenge for a serious automobile model in Frankfurt, they realized their media servers solely had HDMI and show port outputs, in order that they couldn’t transport the HDR sign. Together, Heinzel and his colleague Oliver Derynck got here up with an answer: if they may convert the indicators of the media server to 12G-SDI and run it by way of an FS-HDR, they may then inform the sign it was HDR and run it by way of the switcher. “We tested it out, and it worked, so we were able to retain the HDR metadata,” Heinzel defined. “FS-HDR helped provide a simple solution to a really complex challenge.”
For the occasional augmented actuality (AR) challenge Heinzel’s workforce encounters, he’s constructed customized real-time rendering machines with built-in AJA Corvid 44 12G playing cards for I/O. “We’ve done a few AR projects with Zero Density, and they’re a lot of fun, even though the workflow is different,” he defined. “Our systems for these are presently baseband SDI, but the goal is to move them to SMPTE ST 2110.”
Marching towards an IP future
As Fifty Frames continues to innovate throughout shopper productions and studio installs, Heinzel is seeking to SMPTE ST 2110 to simplify the transport of uncompressed media. He famous, “SMPTE ST 2110 will enable us to work with high bandwidth media as we would with SDI, with no compression, while introducing many benefits, from a reduction in equipment to substantial power and performance gains. Less equipment means a lighter load for travel, and with the right IP router, I can easily get 400 UltraHD signals using a 1RU device, which is amazing. Next year, I think we’re going to see a lot more SMPTE ST 2110 products surface.”
For the time being, he plans to proceed maximizing his KUMO 3232-12G SDI routers to help routing wants throughout tasks. Heinzel concluded, “KUMO 3232-12G provides an affordable way for us to get signals where they need to go, whether to the shaders or for monitoring needs; it does what it’s supposed to do well, and it’s reliable. The usability is also perfect. You don’t have to study the manual in-depth to operate it. That’s important because my team doesn’t have time to fiddle around with equipment. We need our gear to work.”
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