One of my favorite companies, Sound Devices, has had their hands in the field of audio production since 1998. Along the way, they’ve built an amazing product line that includes mixers, recorders, and computer interfaces. As innovative as they were with their 7-series recorders, the people over at Sound Devices understand that as the film and TV industry changes, products have to innovate to accommodate. Enter the PIX video recorders.
Available in two delightful flavors the PIX 240 & 220 are the latest in sound meets picture technology. Built with the reliability and audio performance Sound Devices has cemented in our industry, the PIX recorders add Quicktime recording using Apple ProRes or Avid DNxHD to HDMI or HD-SDI equipped high-definition cameras.
Sound & Picture was able to sit down with Jon Tatooles, Co-founder of Sound Devices, to ask some tougher questions about the PIX you may not uncover in the manual, and to find out more important things like who his favorite superhero is. Here’s what he had to say:
S&P: How long have you been working on developing the PIX recorders?
TATOOLES: PIX has been a Sound Devices project for several years. While some of the architecture is based on what was developed in the 7-Series, video requires considerably more bandwidth than for audio, a whole new UI was needed, and extensive development of the video architecture was developed. Matt Anderson, Sound Devices co-founder and our chief product architect, lead a super-talented team with deep hardware and software expertise.
S&P: What are the latest differences between the PIX 240 & 220?
TATOOLES: The PIX 220 is a sub-set of the PIX 240. It is HDMI-only and omits the extensive time code and video generation systems. For applications without timecode and needing HDMI only, it is very compelling.
S&P: Free firmware updates are a staple with Sound Devices, will they continue to be free for the PIX Recorders?
TATOOLES: It is the nature of a software-enabled hardware product to continue to improve and evolve with firmware updates. We will continue to offer bug fixes and new features with no-charge firmware updates. There is the opportunity to introduce significantly redefined features through software-only updates with the PIX recorders. There may be a point where a feature or features would warrant an upgrade fee.
S&P: What will Alexa owners appreciate about the PIX 240?
TATOOLES: Alexa has a nice, straight-forward setup menu. Connecting a PIX to an Alexa provides a very convenient, high-quality file suitable as either a proxy, or as master. Having DNxHD as an option also makes a PIX 240 a valuable accessory.
S&P: How can a DSLR shooter benefit from the PIX 240?
TATOOLES: DSLR’s are tricky with external recorders, any external recorder. Many of them have non-defeatable on-screen-display elements that are sent to their HDMI outputs. While external recorders record the signal from the camera, the recorder can’t selectively remove these elements. They must be controlled at the source.
S&P: Specifically, would a Canon 5D owner benefit from the video recorder functions of the PIX 240 even though the HDMI picture has unavoidable overlays and standard definition output on record?
TATOOLES: Unless a user was running a non-factory (hacked) firmware rev on the camera, those on screen elements will be on the recorded pictures. And yes, the 5D camera does step down to standard definition when it begins recording video to its CompactFlash card.
S&P: In what ways does the PIX 240 revive tape-based cameras?
TATOOLES: While tape is an excellent near- and mid-term archival medium, it requires realtime transfers. PIX recorders can either augment or replace the tape-based recording on a camera, extending its usefulness and helping it meet specifications. For instance, early Panasonic Varicams have very nice 2/3” CCD sensors but are tape based. Recording to a PIX 240 provides a great, edit-ready file, ready for fast transfer from the field to post production with no transcoding or realtime transfer.
S&P: Can PIX 240 users expect higher visual quality recordings compared to the native media of cameras like the EX-3 or its tape-based predecessors?
TATOOLES: For many applications, especially low-motion shots, that first-pass look at the ProRes or DNxHD output from PIX versus the camera’s codec may not seem much different than the camera output. This, of course, is dependent on what the camera is capable. Where ProRes and DNxHD gain an advantage is when you begin to grade that material. High bit-rate ProRes and DNxHD, while not lossless, are quite close to lossless.
S&P: Does the PIX 240 extract 24 progressive frames from the 60i output of some cameras (a process called “inverse-telecine”)?
TATOOLES: Yes it does. Performing the extraction while recording eliminates this step in the editing software.
S&P: Will the timecode of the PIX 240 recordings match the R3D files from a RED One or RED Epic exactly to facilitate proxy editorial workflows?
TATOOLES: Well…that depends on whether the user has set camera and recorder correctly…but yes.
S&P: The HDMI out on some cameras into the PIX does not sync record to the PIX when hitting record. Is there a work around for this so they do sync up?
TATOOLES: Camera manufacturers can insert start/stop flags in the camera’s video stream. For instance, the RED Epic sends these (over SDI) and the PIX 240 can be set to use these to trigger recording. HDMI has that capability, but we are not aware of a camera with HDMI that sends these signals. If/when these camera send these signals, we will accept them. For now, with HDMI cameras, the PIX recorder needs to be rolled independently.
S&P: Could the PIX 240 be used to convert HDMI video to HD-SDI for long cable runs to “video village” while still providing on-board monitoring for the camera operator? (Note: DSLR LCDs often go blank when HDMI is plugged in.)
TATOOLES: Yes. The PIX 240 provides realtime format conversion. Both SDI and HDMI are live regardless of the video input source. Additionally, if the video rate is set differently than the incoming rate, the scalers will affect the output. For instance, if the camera is sending a 1080i60 signal, the output can be scaled to 720p60 in realtime. The PIX 220 also has scalers and can output different rate video compared to the incoming signal.
S&P: How can production sound mixers make use of the PIX 240’s ability to record 8 channel of audio?
TATOOLES: To record 8 channels of audio on a PIX 240, the signal needs to come in over SDI. A separate device to embed analog or digital audio over SDI is required. For some applications this works. For our core applications of product sound, a dedicated audio recorder is far more suitable.
S&P Can the PIX 240 record audio without video signal present?
TATOOLES: PIX recorders require a video signal to record, so an audio-only source is not possible to record.
S&P: Will the PIX ever record directly to industry-standard broadcast wave files?
TATOOLES: The release firmware on PIX records only to Quicktime files. We will certainly evaluate other file types for future consideration.
S&P: Can the PIX 240 alone replace a lock-it box?
TATOOLES: A PIX 240 includes all of the core functions of an Ambient Lockit, with a very simple-to-use interface. The timecode output does stay active for 4 hours even when the power to the unit is removed. The Genlock output powers up and down with the rest of the PIX. An Ambient Lockit would a better solution if only lockit functions are needed as it’s more power efficient and easier to mount.
S&P: What is the minimum MB/s CF card for recording in the standard ProRes 422 codec?
TATOOLES: MB/s isn’t the only factors that define a CF card’s ability to operate. Its internal controller has to be compatible with the PIX recorders. This is why we specify specific cards, not just a speed. SanDisk Extreme Pro cards are the presently specified CF card.
S&P: What about sending or receiving composite video via BNC port?
TATOOLES: The PIX 240 generates video black with its genlock generator, but there is no provision for component or composite video.
S&P: Are there strict hardware limitations to achieving 1080/60p, ProRes4444 or Uncompressed capture in the future?
TATOOLES: We presently are not supporting 1080 60p or ProRes 444. These are features for us to evaluate. Regarding uncompressed, PIX recorders are not designed for the specialty of an uncompressed workflow.
S&P: Are you going to be offering Sound Devices branded mounting options for the PIX?
TATOOLES: We added a single articulating arm mount to our accessory product line. Because there is such a wide range of ways to attach PIX recorders, we will leave it to the specialty manufacturers to address this market.
S&P: Can we expect any new monitor features on the PIX in the future? i.e. 1:1 zoom, zebra stripes, aspect-ratio masks, LUTs, false colors, histogram, screen flip or peaking…
TATOOLES: We are considering numerous features and are evaluating them for future updates.
S&P: Who’s your favorite super hero?
TATOOLES: Batman, since he has no other-worldly powers. He uses his intellect and resources to do great things.
S&P: If you had only one movie to watch on a remote island, what would it be?
TATOOLES: Lawrence of Arabia.
S&P: Who do you have in this year’s Super Bowl?
TATOOLES: While I didn’t grow up in Wisconsin, when I moved here I had to pledge my allegiance to the Pack.
S&P: Can you tell us when the Sound Devices 32-track portable recorder will be coming out?
TATOOLES: (laughs)How would you use a 32-track portable recorder?
S&P would like to thank Jon for taking the time out to chat PIX 240 with us. You can find more information about their products at sounddevices.com.
A software update for the PIX 220 & 240 has been release. The latest firmware is 1.03 available here.
1 Comment
Se a qualidade do video for boa como é do audio, será fantastico!