Grass Valley Digital Cinema Print

Grass Valley Infinity expands into digital cinema market


At the NAB Show in Las Vegas, Grass Valley will show new features and functionality for its Infinity Digital Media Camcorder that can help independent feature and other production professionals acquire images in the formats they require most. For live sports and studio productions, there’s also a new fiber-optic transmission product from Telecast Fiber Systems for powering the camera and sending high-definition signals across short or long distances.

For cinematographers, there’s a new “Video Modes” software option for the camera that allows users to record images in 1080p 23.98-, 25- and 30- frames per second, with full 4:2:2 processing.

With an optional MPEG-based codec card installed, the Infinity can now be used to record a variety of MPEG-based formats, such as the D10 standard-definition I-frame codec used by Avid editors, as well as long-GOP codecs, such as the XDCAM format, supported by a wide variety of nonlinear editing systems.

Once images have been recorded with the Infinity, Grass Valley has developed new workflow strategies for editing. A new collaboration with CineForm (http://www.cineform.com/) enables Avid editors to convert JPEG 2000 files captured with the Infinity to Avid’s native DNxHD format by using CineForm’s Neo HD plus Avid’s MetaFuze utility. Also expected from Cineform is a direct converter from JPEG 2000-to-DNxHD .mov (QuickTime) file as part of Neo HD. For those editors working with Apple’s Final Cut Pro (FCP), Neo HD converts clips directly from the Infinity camcorder into either 10-bit CineForm or ProRes files for highest fidelity workflows.

Another way of getting JPEG 2000 files from the Infinity into FCP is by using Telestream’s Flip4Mac Infinity Component, a QuickTime component and Final Cut Pro plug-in that allows users to move to a file-based media workflow when ingesting from an Infinity. File transfer over USB 2.0 connection enables fast clip import into FCP. The Infinity Component imports MPEG-2 HD and DV25 SD media directly from Grass Valley REV PRO drives without transcoding the media file. Flip4Mac Infinity Import Component produces a .mov file that is placed right into the project bin within FCP.

[Grass Valley’s EDIUS editing package is also capable of editing JPEG 2000 files natively, giving a full workflow for Infinity shooters.]

For transmitting signals directly out of the camera across short or long distances, Telecast Fiber Systems makes a version of its CopperHead camera-mounted fiber optic transceiver specifically for the Grass Valley Infinity. Called the “CopperHead INF,” it allows the use of the Infinity both as a camcorder and an HD/SDI production camera, multiplexing all two-way camera signals onto a single, lightweight, battlefield-rated fiber cable.

Mounted between the Infinity DMC and its battery, the compact CopperHead INF delivers bidirectional HD/SDI, composite video, audio, intercom, genlock, and camera control between the camera head and the remote CopperHead base station.

There’s three versions: a single-mode fiber model, which does not power the camera but allows cable runs of up to six miles; there’s a standard power SMPTE hybrid version for up to 700 feet (for studio use); and a high-power version which delivers 125 watts to the camera head to accommodate digital cinema accessories such as an LCD monitor or TelePrompter. It can supports signal transmission of more that 1500 feet and is ideal for EFP or live sports applications.

In addition, the CopperHead INF system permits ISO-recording on each Infinity camcorder’s internal REV PRO drive during multicamera productions, allowing for additional post-production editing without the need for expensive studio-style recorders.

More information about fiber optic solutions from Telecast Fiber Systems is available online at www.telecast-fiber.com.