Avid’s Interplay Announced

As you all know, I’m a big fan of Avid systems. Lesser NLE solutions like Final Cut and Premiere (which I use) are all very well and good, but there’s a lot of things that just need the extra power and ability of a professional, industrial-strength, purpose-built editing solution. And a few days ago, Avid announced the availability of their new Interplay workflow engine.

Originally revealed at NAB, Interplay ties into almost all of Avid’s NLEs and provides secure access to a myriad of filetypes on a user-by-user basis. There a number of toolsets that do things like transparently transcoding files into whatever format is require, simultaneously capturing media at different resolutions, and automatically creating user archives of media libraies and projects. Paul Schleicher’s blog HD to 35 has more info on the individual components that make Interplay so cool.

More RED Camera Info

Sorry for the infrequency of the posts lately, but I’ve been working on a number of projects, some of which I’ll be able to post about later. But for now, here’s some more info from Mike Curtis about the Red camera. Mike is currently at IBC, where the first Red-shot footage has been screened. Apparently the Mysterium sensor is working well, according to this detailed description of the shots displayed by a Sony 4K projector.

Red also used their IBC booth to announce new camera accessories, such as a viewfinder, rail system, external battery and drive bays (pictures here), and some new info on zoom lens they mentioned at NAB, and they also detailed some of the specs of RedCode, the camera’s native codec. RedCode is 4k capable, records 10 bit logarithmic color, and at 24fps is about 28 MB/sec.

Since the codec records RAW data, not YUV or RGB, the Red team has wisely decided to create their own conversion software, rather than wait for the NLEs to offer native support (this can take a long time; Final Cut Pro 5.1.2 will be the first version to support all the frame rates and resolutions of XDCAM HD, capture 24p from JVC’s HD1xx cameras, and read Canon’s 24F format – and it doesn’t even ship for another month). RedCine will demosaic the RAW footage, offer some basic color correction options, resize, and export to almost any file format and codec.