Dawn of the HDMI VJ age? Photo (CC-BY-ND) Sam_catch.

Ed.: Create Digital Motion contributor Anton Marini reports from NAB, the broadcast gear show this week. While “broadcast” had traditionally been the emphasis, this is 2011 – and a lot of what’s on offer could transform live visuals and design. From tablets manipulating Photoshop to new hardware, it’s getting interesting. And 2011 might finally be the year of live HD capture and mixing. HDMI mixer, anyone?

NAB 2011 is just getting started, and already, it looks like 2011 could bring useful and affordable solutions for the live visualist on the go. Early highlights:

HD Mixing, Capture Get Real, Real Cheap

Blackmagic introduces affordable HDMI mixing, capture.

Blackmagic’s ATEM switchers include a new $995 4x HDMI mixer (the “ATEM Television Studio”) which includes Luma Key, Chroma Key and transitions. We’ve spoken a lot at CDM about DVI mixing possibilities, DIY and otherwise, but this looks to be the first unit to really pose an affordable HD alternative to the veritable Edirol V4 mixer. The ATEM switcher include a 2G image store that can even support clip storage and playback for custom transitions and effects. The only gotcha we can see so far is that the switcher currently is controlled via a software interface, and a dedicated hardware solution from Blackmagic is going to set you back around $5000. This is something we are very interested in learning more about, though. If custom software front ends could be made tailor-fit for live VJ’ing purposes, we’d be very very happy. Give us MIDI and OSC control…

Dedicated HDMI Capture

The ATEM switchers also purport to allow USB 3.0-based capture on a Windows-based computer. If that doesn’t suite your workflow, Blackmagic has you covered with its Hyperdeck Shuttle, a removable, SSD-based HD-SDI and HDMI recorder that captures to uncompressed QuickTime media. The Hyperdeck goes for $349 (SSD-based media not included), but that’s a steal. Considering the Hyperdeck has passthrough HDMI (one in, one out), you can inline it out of your laptop or DVI mixer  (Use a DVI to HDMI converter) to record perfect-fidelity captures of your performance. This looks to be a must-have, and is inherently cross-platform, as its an external capture solution. Ed.: Check those details – you can actually charge up the battery and use this as a standalone solution. See also the tech specs. When you want to connect to a computer, it uses USB 2.0, so you’d be able to read it from any OS depending on how you format the drive – the one detail I couldn’t find. -PK

Some questions remain, such as whether this device, like other Blackmagic Design products, is limited to capturing only at broadcast video resolutions and formats (ie, 1080p/1080i/720p/480p, but not say, 1280×1024,1024×768, etc). Ed.: sure enough, those other resolutions are missing. We also need confirmation it will handle an HDMI RGB format input, rather than the HDMI YUV format commonly used in the video world. If it remotely resembles Blackmagic’s Intensity line, which we suspect it will, RGB input from a DVI source will be fine, as long as you output to a real video standard (1080/720/480). We’ll let you know when we get confirmation.

Atomos’ The Ninja – HDMI ProRes Field Capture

Similar to the Hyperdeck, Atomos’ The Ninja is an HDMI-capture solution that leverages Apple’s ProRes codec to allow capture on low-cost, platter-based hard drives. Like the Hyperdeck, the Ninja allows for field recording via its battery pack, meaning you can record untethered. Meant to work in close concert with DLSRs like the Cannon 5D MKII or 7D, the Ninjas HDMI input may serve a second purpose in facilitating set capture for live visualists. The Ninja has been shipping for a short while now, and has an MSRP of  $995.

Thunderbolt Strikes

Intel’s new Thunderbolt IO port, announced and shipping on the 2011 MacBook Pros, looked amazing on paper but was a bit short on interesting peripherals at launch. That’s already changing. Blackmagic Design, AJA and Matrox are all showcasing and demoing new Thunderbolt peripherals at NAB.

Blackmagic UltraStudio 3D

Black Magic unveiled its UltraStudio 3D, Thunderbolt-based HDMI and HD-SDI capture, allowing for HD, 2K, and 3D discrete input capture in the field or on set. The Ultrastudio retails for $995.

MXO2 line

Matrox is demoing on the NAB showroom floor its MXO2 line [press release], now featuring Thunderbolt compatibility. Kiss your ExpressCard woes goodbye. Thunderbolt compatibility seems to be implemented by way of a Maxtrox PCI to Thunderbolt adaptor, which ships with new purchases for compatibility, or can be bought for those of us with existing MXO2 solutions but who need Thunderbolt connectivity. The adaptor runs US$299 on its own, if you already have an existing MXO2 device and need Thunderbolt compatibility.

Overview of the product line, with specs:
http://www.matrox.com/video/en/products/mac/mxo2_family/ [links to the PC versions, too]

AJA’s “Riker” and “Phaser” Capture Hardware

AJA, not to be left out in the cold, previewed its new hardware lineup devices, codenamed Riker and Phaser. Riker supports everything from SD to 5K (yes, that is not a typo. 5K capture indeed) It is not clear if Riker is a standalone PCI card, or is compatible with Thunderbolt devices. Phaser seems to be an update of its existing AJA IO Express with added Thunderbolt connectivity (earlier versions leveraged a internal PCI card for desktops or Expresscard on laptops). No MSRP or release data for Riker and Phaser just yet. Aja has a complete press release for more information:

Thanks to Scott Simmons’ Editblog for on-the-floor coverage.

Editor’s warning: the following video contains Adobe reps and the word “ideation,” which sets my teeth on edge. But the content is super cool, at least. -PK

Adobe CS 5.5, Tablet Touch Control

Adobe has some updates to its venerable Creative Suite, bringing the version to 5.5, with some interesting new twists. 5.5 brings external iPad support via plugins. Wait, what you ask? CS 5.5 has a new Photoshop Touch Software Development Kit that allows developers to write applications for iOS, Andriod and Blackberry devices to drive and interact with the desktop Photoshop application. This could be amazingly cool as a performance device, for multi-user installations, or just plain old drawing and painting fun. I, for one, am very curious what developers do with this. I suspect we will see a lot of amazing work done with this. Ed.: I can sum it up in three words – Poor. Man’s. Cintiq.

Details on Adobe’s efforts and their own iOS apps:
http://www.adobe.com/devnet/photoshop.html

Touch SDK preview:
http://www.adobe.com/devnet/photoshop.html

Davinci Resolve Lite

Blackmagic is at it again, releasing a free version of the industry leading color grading and correction tool DaVinci Resolve. DaVinci Resolve Lite is limited to SD and HD resolutions, 2 correction nodes, and leveraging a single GPU. Ed.: So, in other words, it’s about exactly what most of us mortals actually need, and free. -PK Previously Windows-only, DaVinci is now available for Mac and even Linux.

  • http://www.sparkav.co.uk toby*spark

    oooh… where is the spec for the software control.

  • http://www.marcotempest.com VirtualMagician

    Terrific post! My creditcards are already twitching in anticipation of all the HDMI goodness coming our way in 2011.

  • sleepytom

    I think people are getting a bit ahead of themselves re the ATEM TV Studio. 

    It isn't a very suitable VJ mixer, regardless of the control issues. Most VJs are not using the video resolutions that this device demands. It cannot mix 1024×768 – it has no outputs which are suited to standard VJ projector types, and a lack of any analogue support for legacy gear. HDMI itself is very far from ideal, its not good at long distance transmissions, and prone to terrible issues with EDID and HDCP. 

    The ATEM products are great, but they are broadcast type products which are designed to fit into a broadcast type world. Just because your camera and projector have an HDMI socket on doesn't mean that you can build a suitable mixing system via the ATEM TVS. HDSDI is the format that actually works for professional (including VJ) applications. The cost implications of this though are considerable, projectors which have HDSDI inputs are starting at around $10,000. 

    Do not assume that HDMI will be usable for anything require cables longer than 5 meters. Don't assume that because BM are making a low cost mixer that the total cost of ownership for a workable VJ solution will be low, the ATEM TVS will require at least $1000 worth of additional equipment / format converters to be usable for your average VJ. Even then it is questionable if this approach is a good one, as each additional scaler or format converter will add delays into the signal, rendering beat-synced visuals impossible to achieve in realtime. 

    This is not speculation on my behalf. I own a Echloab Atem 1ME (the product which spawned these blackmagic switcher) and so I'm fully aware of the implications of adopting broadcast technology to the VJ world. The bigger BM ATEMs are good solid switchers, either the 1ME or 2ME model would sit well at the heart of a camera based VJ setup. But the cheapest ATEM TVS is simply not designed for the kind of things that VJs do, and doesn't interface well with the kind of equipment that VJs use.  

  • http://vade.info vade

    Those are all 100% valid points. Thanks Tom.

    The good news about HDMI is, relatively speaking, converting to alternate transmission formats if you need a very long run is doable, with a plethora of HDMI to Cat 5/6 converters, and if you need HD-SDI for connectivity to more professional video devices, this box has it. If you need alternate video formats for playout to devices that do not support HD (say SD analog play-out), you can buy a scan converter and place it at the final mix out stage, and mix in 480p. For projectors that do not support HD, but computer "n"-VGA formats, you can use a scaler.

    This is not to say this device is a VJ centric solution. I'd much rather have a an "HD V4" or what-have you, designed for touring, with mixing controls, and supporting a wider variety of formats. But this is a good, cheap thrust into the world of HD mixing, and could be very useful for venues, or teams of VJs who have some of the gear mentioned above to make it more viable in environments that don't meet its limited format support.

    A few hundred more for a HD mixing solution still has a total cost of ownership well below that what we commonly have seen for HD mixers, and could be useful for those wanting to get their "feet wet" experimenting with HD mixing solutions.

    All of that said, yes, this is *not* a VJ Mixer, this is a broadcast TV "mixer"/switcher and built for a such a facility. Still, more options are better than less in my book.

  • sleepytom

    No quite… 

    HDMI is digital only, the cost of a converter that does HDMI/DVI to video (or VGA etc) formats is over $1000 (pretty much per output format – ie a single converter than can take HDMI and output VGA or PAL is nearer $2000) Such converter also add further latency into the system which can quickly get to 5 or so frames of delay, plenty long enough to spoil AV reactive visuals. 

    HDMI over Cat5(6/7) is pretty annoying and requires costly cables to go further than about 25 meters. HDMI/DVI over fibre is getting more affordable but it is still well beyond a typical VJ budget. 

    The ATEM TVS is NOT a broadcast product at all, it's a low-end device designed for corporate webcasting. The IO delay is unknown at this point and could well be significant (competing products such as newtech tricaster are notoriously laggy when it comes to i/o latency.) 

    I would very much recommend people do not buy the ATEM TVS without first having a proper hands on demo, I think that many VJs will have a lower total cost of ownership for a working VJ mixing setup by investing in the ATEM 1ME rack unit. The analogue in/out options and much better keying system are worth the extra money on their own. 

    Even the full-fat 1ME ATEM with control panel, built into a nice flightcase with full monitoring will cost you less than the Vixid MVS16-4. So whilst the ATEM TVS isn't so exciting for VJs, the bigger ATEMs certainly are. The kind of people who'll be using these are the collectives of VJs and camera people who already own sony EX1 level of cameras, for these people $7500 for a fully professional HD vision mixer is very affordable and in-line with the cost of the camera systems that will be plugged into it. 

  • http://vade.info vade

    I think your estimates for HDMi to video format conversions are way above the norm. HDFury and friends run cheaper than that, for example. 

    Additionally, any long cable runs are going to require some form of signal boosting, regardless of transport. I get the impression that no matter what number ends up being the max transmittable distance, you'll say it wont go "n" length. 

    I dont think I can remember playing a gig where I needed longer than 25m of cable to hit the projector. And if I did, im going to suspect its a venue that has either the equipment or the run already sorted, or has the budget to rectify the situation. Maybe that is more a testament to the gigs I play, but it ought to offer what I think is a realistic representation of what most VJs are going to face. I don't think this is a deal breaker any more than DVI's cable limitation is for the TV1-C2-750.

    The ATEM line is a Broadcast line of products, this is their low end. Anything that has multiple HD-SDI inputs and outputs is not 'designed for webcasting' and is not limited to that environment.

    This situation is eerily similar to the TV1-C2-750 (aka the DFuser / VJFader DVI mixer box  for those unfamiliar with the model number) and its cousin products line up. Both are boxes that comes close to doing what VJs want for much less than half of the price of equivalent solutions. Each box has limitations, gotchas, and will require additional purchases to round them out for every possible scenario. Just like the TV1 line, if you want to move up to more features, you can pay more. If one does not suit your needs, the other might.

    In my mind, this is perfect for solution small venues who have bands giging, you can have a 2 camera setup using older, cheap HDV cameras with HDMI out (think HV20 and friends, which you can get for a few hundred and have uncompressed 4:2:2 out over HDMI), a blue ray player with discs you've authored or bought for with content (HDCP is not an issue on discs authored without it), and a VJ, or 2 VJs, or whatever. 

    Does this come with caveats? Certainly. Does have a features worth considering? I think so.

    I'm not strictly disagreeing with anything you've said. Anyone who buys products without reading *reviews* (which this clearly is not) deserves what they might get. No one is telling anyone to go out any buy this… All we are doing is drawing attention to a product that warrants a good look by the community. 

  • sleepytom

    I'm not just dissing this for the sake of it!

    I'm simply saying that your proposed 'lowend' solution isn't actually usable in a VJ context. The HV20 et al might have an HDMI output but its on a mini connector designed for reviewing footage on a HDTV not for using live (many of these small cameras have the outputs somewhere really silly causing the cables to fall out as lot) The long cable run issue is very important for cameras – if your shooting bands then camera runs tend to be 20m minimum, even in very small venues. 

    Converting the HDMI out to something else for longer runs is needed – the sensible choice is HDSDI (as you don't then need to convert again at the other end) – which makes the cheapest converters around the £300 mark. You could use the BM atem camera converters which run HDMI over fibre – but at $1000 per camera that is pretty expensive.

    I guess the pitfall that i'm trying to warn people away from is that they see this and think they can spend $1500 and get an HD mixing system that will work for VJing. 

    Lets be positive and congratulate Blackmagic for cutting the entry level costs of HD VJing with their very affordable ATEM 1ME. Forget about the Atem TVS, its not suited to VJs or venues. If you only have $1000 to spend on a VJ mixer then buy an Edirol V4. It will comfortably sit at the heart of your VJ rig and interface with the other affordable kit that you'll likely have, or be able to afford.  If your mainly doing computer based VJing then get the TVOne 1T-C2-750 this will give you super quality DVI/VGA mixing at your projectors native res, and will happily drive VGA cables upto 50meters long without boosting or external converters. 

    If you have $3000 to spend then don't get an ATEM TVS and a whole load of little converter and adaptor boxes, spend the extra to get the 1ME atem at the heart of your system (yes you can run the 1ME from the software controller so you don't need to jump in with the cost of the control panel hardware right away) 

     

    If you have $1500 then save up until you can get the 1ME – getting the TVS will be a false economy which will create a more expensive and less reliable solution than having a better central mixing solution such as the Atem1me. 

  • vade

    Im torn. I have a lot of points to make in response to this, but I'm not really sure what the point is. I'm sure this will be taken as a cop out, but I really don't have the patience or energy to go over every minutae and detail, since I feel like we are coming at this from vastly different angles and even greater assumptions and experiences.

    The box is what it is, no arguing over assumptions will change it. If I can review it I will, if people find uses for it, they will.

  • sleepytom

    That's sort of my point. Most VJs have zero experience of digital mixing systems. People see words like HDMI and HDSDI and think "oooh thats better than composite", yet they might have never used these digital formats in a professional context and thus have no knowledge of the problems that digital formats can cause. 

    All I'm trying to do is pass on some of my experience, including covering some of the pitfalls of these digital formats, as well as the advantages. 

    The "it is what it is" point is kind of a strange thing to say.  I imagine that the vast majority of people who read this blog actually don't really have the experience to be able to read the spec sheet and interpret it into an idea of how the device works and what other equipment they will need to make use of it. 

    I do have that experience, and i'm trying to use it to help people avoid wasting a load of money on a product which will not actually work very well as a transitional stage between current VJ techniques and the equipment and techniques of the future. 

    People without a broadcast / large events background will not be familiar with the issues.. People without broadcast budgets will need to be very careful about their selection of products to avoid a situation where they have to spend thousands of dollars on extra converters and black boxes to make the system work. 

     

    As I said above I own an Echolab ATEM 1ME, however I do not use it on every gig as for some kinds of show it is not the right tool at all. On the shows where I do use it then I often end up using a lot of extra conversion boxes to allow the use of legacy cameras and output to RGBHV devices. 

    HDSDI converters and professional type HDMI converters are expensive by VJ standards, even the single function "stupid" converters between say composite and HDSDI are a few hundred dollars each. Blackmagic releasing the ATEM TVS hasn't removed the need for these boxes and it hasn't made these boxes any cheaper. 

    There is also an important distinction between broadcast derived products and presentation derived products; Broadcast products generally process at very limited resolutions (PAL, NTSC, 720p,1080), where as presentation kit normally has many more options for the familiar VJ resolutions such as 1024×768. Many presentation devices (not just the TVOne)  are able to accept custom resolutions allowing use with things like the matrox th2go. Broadcast products do not have these capabilities, and will force the average VJ into a non-native resolution mixing solution, which in turn creates lipsync latency and i/o delay which can really ruine VJ performances. (mmm lovely crisp video that is 1/5th of a second behind the music. This is not an improvement over tightly synced but slightly soft video) 

    The ATEM TVS is perfect for people who are producing web videos, eg corporate product demonstrations. This is who it has been designed for. VJs might be able to work it into a system for VJing, but it is far from ideal and they could well end up spending more than they would of spent by getting a 1ME ATEM.  

  • vade

    Transitional indeed. 

  • Mr B

    From my understanding at NAB and please correct if I am wrong but the Blackmagic ATEM's HDMI do not accept computer resolutions. These inputs are 480i, 720p, 1080i and so on. Might be one of the reasons the "mixers" are so cost effective. Sleepy Tom also made some very valid points about the Blackmagic products. Far as I see it, the new products at NAB 2011offered no real VJ HDMI solutions (esp. the Atem Mixers).

  • sleepytom

    Today I had a very good phone conversation with the ATEM product line technical designer at Blackmagic. He explained a little more of the design philosophy and the differences between the Echolab ATEMs and the BM ATEMs. 

    First the plus points:- There will be an SDK for controlling these devices, this will allow for 3rd party developers to write control software (or even make hardware controllers) for the ATEM products. The control SDK will be sane and consistent across the ATEM range. The SDK will not be immediately available, but should appear fairly soon after they start shipping the products. 

    Now the less good points – all the new ATEMs are single format switchers, all the input devices must use the same resolution and frame rate as the switcher is processing. This has mainly been done to keep costs low and to allow for the very small form factor of the ATEM brains. This does however mean that you cannot mix between different resolution cameras, if you want to make use of the ATEM then you need to pick a common format for all your devices or use external scalers to convert your signals before they hit the ATEM. There is no internal support for computer based resolutions such as 1024×768 – your choice is SD PAL, SD NTSC, 720p  or 1080i (50/60). The upside of this is that the lack of internal scalers (potentially) reduces the I/O delay as you don't have the option to make the switcher do silly resolution processing which can cause slowness. The downside is that you canot simply plug any device in and have it work regardless of format, and people using non-hd native displays will have to use external scalers if they wish to use the ATEM in HD mode (many displays have these scalers built-in, though sometimes such internal scalers are a little slow to process causing signal latency) 

    So overall I'm pretty impressed with the new ATEMs, they are not perfect, but do offer a lot of bang for your buck. The SDK will be getting a good seeing to from me as soon as it becomes available, hopefully this will open up the control options somewhat, though I still think many people will actually want to invest in the proper hardware controller specific to the ATEM mixers. ($5k isn't much for a really well integrated control surface, with automagic button labels and other wizzy features) 

    I'm hoping to get some hands-on experience with the new ATEM as soon as there are any in the UK. When I've had a proper go on one i'll post a full review. 

  • http://vade.info vade

    Tom, thanks for the info. The 3rd party SDK I am very curious about. Its great that they are going forward with that.

    The single video format I think is expected, the lack of scalers also expected, as no other Black Magic product handles video resolution as they are not broadcast standards. The lack of multiple resolution support however (cross scaling between 720 to 1080, 480 to 720 etc) is kind of a shame, as that is something common in the decklink line of devices. 

    I also have done a bit of research into cheap converters for allowing longer runs and compatibility with non HDMI devices, and one that looks very promising is the Atlona HD 420, (http://www.atlona.com/Atlona-HDMI-to-VGA-Component-Stereo-Audio-Format-Converter.html) which is a $200 HDMI to VGA converter and scaler. They also support scaling to non video resolutions, so you can go to : 

    PC: 640×480= VGA59 , VGA60, VGA72, VGA75, VGA85800x600= SVGA56, SVGA60, SVGA72, SVGA75, SVGA851024x768= XGA60, XGA70, XGA75, XGA851152x864= MAC70, MAC75, MAC851280x800= WXGA601280x1024= SXGA60, SXGA75, SXGA85,1440×900= WXGA601600x1200= UXGA601680x1050=WSXGA+601920×1200= WUXGA60(pixel-rate=154MHz)

    HD: 480I60, 576I50, 480P60, 576P50, 720P60, 720P50, 1080I60, 1080I50,1080P60, 1080P50 

    as per a support email for clarification.

    Something like that off of the main output does not significantly increase cost of ownership and greatly increases the number of devices you can work with.

    Thanks again Tom.

  • sleepytom

    Sorry Vade that one is no good… 

    from its manual:-

    "Note 1. The AT-HD420 is a format converter only; therefore user would have to choose the resolution on the HDMI/DVI source which he/she would want to see on the output. The converter will not scale the signal and therefore it is very important to select the proper resolution on the originating source"

    IF your projectors can accept 1080i via VGA then this converter will give you a longer cable run, however many projectors cannot accept HD formats via VGA. Also sending the high res signal down the VGA will increase the chance of errors (compared to sending lower resolution projector native VGA) 

    If you actually want to scale the HDMI out to your projector resolution before you send it down the VGA you'll need something like the TVOne 1T-VS-558 – $450 which is pretty affordable really, but you can kind of see where i'm going with this i'm sure! 

    A typical fairly small live vision mix / VJ setup might be 3 cameras, 2 laptops, outputting to 2 XGA projectors. Assuming the cameras need to be located some distance from the switcher location then we'll need to use HDSDI cameras (such as the Sony NX5) or add HDMI>HDSDI converters to cameras like the canon HV20 (i use the focus MCSDI-1 boxes for this – $595 per camera) Add on the TVOne box for the output conversion and we are approaching a usable system.  (cost wise we are now around the $3200 for the Atem TVS + conversion hardware – still very affordable, but enough to upset the VJs!) 

    A little historical perspective would make you feel that this cost is very low for the quality it provides, (we are talking less than what an MX50 used to cost when i started VJing) But $3200 is quite a lot more than $1000! 

    Anyway – I'm in no way complaining about the cost, the BM stuff is priced very affordably and even with the add on extras it is still within reach of small VJ collectives.  

    I feel it's a bit of a shame that they have taken the scalers out of the ATEM design (my ATEM has a scaler for each input and 2 separately scaled aux outputs allowing the switcher to output upto 3 separate resolutions, this is fantastic for event work, but it does make the switcher a bit more complex to setup, and requires a good understanding of overall systems design to minimise latency)

  • http://vade.info vade

    Derp on me. I had not noticed that. However, at the risk of failing again, it looks like you can get a scaler from them, for $240 ish US, which supports those resolutions:

    http://www.atlona.com/pdf/manuals/AT-HD560_manual

    Granted, that still gives you DVI or HDMI, not VGA.

    But yes, I've never said you wont need an adaptor or two with this if you want computer resolutions, but the Atlona boxes (and even the TV1 box you just mentioned), are an order of magnitude cheaper than your *original* statements above (~$1000 per output format). That was my main point of contention. I think we are, at this point, just going back and forth for the sake :) (not that there is anything wrong with that). I hope to get my hands on one of these once they ship, and give it a proper test. 

    Also, thats a shame about the original ATEMs having a scaler. That would be a huge boon for the VJ community.

    On a side note, and totally off topic, doing some research on embedded platforms with GPUs, I am half tempted to get an embedded linux system with HDMI/DVI out (some even have 2 outputs) and make my own fucking mixer and attempt to get HDMI input working (embedded linux + PCI + Intensity anyone?). Omap4 platforms look quite nice for this, as does AMDs G-Series platform (which is more of a very small desktop rather than an embedded device). With a CF Card you could possibly even load custom effects and media. 

    I think a homebrew solution could be viable, but I need to know more about hardware. Ugh. Anyone want to start a company? (I am, actually, half serious).

  • http://glowingpictures.com Benton-C Bainbridge

    Hi vade, thanks for the 'heads up' on some new technology to hack. I think it may be time for a bunch of us to camp out at the R&D lab of our nearest video tech company until they build us that damn High Res VJ mixer!

    For me, the missing feature on the V4 (and all other VJ mixers) is physical Proc Amp control. The V4 has 3 of the 4 Proc Amp control parameters, but buried in a menu – no dedicated knobs. I use this feature throughout every gig on my modified MX30 to make the picture perfect for the displays, and to control video feedback response.

    Speaking of color, do you have a link for the free Davinci Resolve Lite download? The link you provided just directs you to resellers – is that the only option? This is the most exciting news to me – affordable software color correction has been sorely lacking. I have great nostalgia for the Videotek SDC-101…

    Thanks again for the report from NAB!

    ~Benton-C

  • http://benton-c.com Benton-C Bainbridge

    PS- Peter, ID-ation is mandatory at all over-21 venues in the States.