Posts Tagged ‘Sound Devices’

Sound Devices - 664Sound Devices, experts in portable audio and video products for field production, is pleased to announce that its 664 Production Mixer has been nominated for a Cinema Audio Society (CAS) Technical Achievement Award in the production category.

The 664 Field Production Mixer is the new flagship in Sound Devices’ line of portable audio mixers. The intuitive 664 has six input channels and four output buses. All inputs and outputs are recordable to both CF and SD cards. This unprecedented amount of I/O connectivity and recording capability makes the 664 perfect for any portable production application.

“It is an honor and privilege to once again be nominated for a Technical Achievement Award by the Cinema Audio Society,” says Matt Anderson, President of Sound Devices. “Being recognized by such a prestigious organization confirms our efforts to continue to bring innovative, industry-leading products to market.”

The 664 has six ultra-low noise, high-dynamic-range analog inputs. These transformer-less preamps accept mic- or line-level signals, and include analog peak limiters, high-pass filters, input trim controls and direct outputs. Input connectors 1 and 6 can be selected to accept AES42 or AES3 digital signals

In complex multi-camera productions, output flexibility is essential. The 664 can send its main left/right outputs to three cameras simultaneously. Two additional output buses, X1 and X2, appear on balanced TA3 connectors. AES3 digital outputs are individually selected to appear on the main XLR and multi-pin output connectors.

The 664 can record each of its inputs and four output buses for 10 record tracks. Recordings are saved to CompactFlash and SD cards. Recordings are either 16- or 24-bit broadcast WAV files, with extensive metadata. All popular production sampling rates are supported. When used with a CL-6 Input Expander, the 664 records 16 tracks, 12 inputs and four output buses.

The mixer’s built-in, rock-steady Ambient time code generator allows multiple devices to operate in synchronization. The 664 can operate as a time code master clock, or its clock can be jammed from an external time code. A helpful time code compare utility shows the difference between internal and external time codes.

This year’s winners will be announced at the 49th annual CAS Awards on Saturday, February 16th at the Millennium Biltmore Hotel in Los Angeles.

For more information, visit: www.sounddevices.com

Sound Devices - MasterChefProduction Video Recorder Provides Incredible Image Quality and Smooth Workflow  

When the reality, cooking competition show, MasterChef China tasked Boxtop Studio Films’ Director/Producer Chad Grochowski with overseeing the design and construction of the set, contracting production equipment and international crew, and handling the post-production process for its inaugural season, he turned to Sound Devices, experts in portable audio and video products for field production, and its PIX 240 Production Video Recorder. The PIX 240 helped Grochowski ensure the highest image quality possible for the program, a collaboration between Dragon TV, Shine UK and the International Channel of Shanghai.

Known around the world, MasterChef is a massively successful reality TV franchise, with productions in more than 40 countries. Having seen many of these versions and noting that the production quality was not always consistent, Grochowski wanted to achieve the best-looking show possible. This required capturing the highest image quality, given the production’s budget and local availability of HD cameras and lenses. In addition, Grochowski was looking for a solution that would minimize the time needed for ingest and transcoding of the recorded material.

In order to accomplish this, Grochowski utilized eight to 10 Sony HDW-F900R CineAlta HD cameras, each equipped with Sound Devices’ PIX 240, to record in Apple ProRes 422 (1920x1080i 50). As the show was being edited in Final Cut Pro HD, this was especially appealing to the producers. In addition, bypassing the HDCAM compression to tape and recording the pure HD-SDI output stream with the PIX 240, enabled significant workflow and image-quality advantages.

“The ingest process using Sound Devices 240 Gb SSD drives and its PIX-CADDY couldn’t have been easier,” says Grochowski. “By using this recording media instead of HDCAM tape, we saved on tape purchase and deck rental costs during the two-and-a-half-month filming period. The PIX 240 also allowed for instantaneous dailies and provided great imagery and smooth workflow.”

Time-code synching was also a beneficial feature on set, as all PIX recorders were synched, including up to 32 tracks of wireless microphone feeds, which were routed into a MADI-interfaced PC running Nuendo 7. With eight to 10 cameras rolling simultaneously, plus recording 12 to 32 tracks of audio, running time-of-day timecode ensured that all media were synched. In addition, the audio team utilized Sound Devices 788T with its CL-8 Mixing Control Surface to capture and mix audio during off-site filming situations.

The post production team was able to handle the Ingest and Media Management using just two PCs and an iMac. Materials were ingested directly from each PIX-CADDY via USB 3.0 and/or FW800. By using one PIX-CADDY per SSD drive, they were able to minimize wear and tear on the drive contacts, further ensuring reliable performance for the entire production.

Several key members of the MasterChef China crew also worked with Grochowski and the International Channel of Shanghai on Season 2 of The Amazing Race: China Rush, which was recently awarded the “Best Adaptation of an Existing Format” award from the Asian Television Awards held this past December.

Sound Devices PIX 240 is the perfect companion to a wide range of professional cameras used for feature films, such as ARRI and RED, as well as small-format HD cameras from Sony and Canon. Sound Devices latest update for PIX offers Apple ProRes 4444 recording from video sources over 3G-SDI (4:4:4 RGB or YCbCr). Users can connect PIX 240 and 240i to cameras with HD-SDI, 3G-SDI, or HDMI and record directly to QuickTime using a range of different Apple ProRes or Avid DNxHD codecs, including Apple ProRes 4444. Since PIX recorders use ProRes and DNxHD, files recorded in the field can be used directly in post production, making for simpler, faster workflows.

The PIX 240i’s high-performance five-inch, IPS-based LCD display is an accurate field monitor, providing users with immediate confirmation of framing, exposure, focus,  audio metering, and setup menu selections. It offers excellent color accuracy and contrast, great off-axis visibility, and accurate motion tracking.

PIX 240 and 240i users now have the ability to record into Apple ProRes 4444, which offers impressive quality with 4:4:4 sources and workflows involving alpha channel transparency. With its 12-bit, 4:4:4 capability, the PIX 240 and 240i can record 330-Mbps Apple ProRes 4444 files that are perceptually indistinguishable from the original source material. Popular cameras with 4:4:4 capable outputs include the ARRI ALEXA, Canon C500 and Sony F3.

Additional features available in this latest v3.0 firmware update include time-code and recording status displays on the SDI and HDMI outputs, up to 500 ms of audio delay to compensate for multi-device picture delay, and selectable 4:4:4 or 4:2:2 video output independent from the source material.

The built-in hardware scaler and frame rate converter allows PIX to output and record material at different resolutions and frame rates than supported by the camera. Conversion between HD and SD, with and without anamorphic conversion, is available.

The audio circuitry of the PIX recorders is based on Sound Devices’ award-winning 7-Series digital audio recorders. The low-noise (-128 dBu EIN), high-headroom, high-bandwidth inputs are mic/line switchable and include limiters, high-pass filters and phantom power.

For more information, visit: www.sounddevices.com

Sound Devices - Pix 240iVideo Recorders Can Now Record 12-Bit, 4:4:4 Content to Apple ProRes 4444

Sound Devices, announced its latest major upgrade to the PIX 240 and PIX 240i Production Video Recorders. This new update, available for all PIX customers free of charge, offers Apple ProRes 4444 recording from video sources over 3G-SDI (4:4:4 RGB or YCbCr). Recording 4:4:4 offers productions superior color precision for applications in chroma-keying, color-grading and multi-generational editing.

PIX 240 and 240i users now have the ability to record into Apple ProRes 4444, which offers impressive quality with 4:4:4 sources and workflows involving alpha channel transparency. With its 12-bit, 4:4:4 capability, the PIX 240 and 240i can record 330-Mbps Apple ProRes 4444 files that are perceptually indistinguishable from the original source material. Popular cameras with 4:4:4 capable outputs include the ARRI ALEXA, Canon C500 and Sony F3.

“Sound Devices is pleased to announce this latest firmware update, which brings Apple ProRes 4444 recording over 3G-SDI to the PIX 240 and 240i,” says Paul Isaacs, Technical Development Manager, Sound Devices. “The additional color accuracy available in a 4:4:4 environment reinforces that the PIX recorder is a master-grade production recorder suitable for the most demanding production applications.”

Additional features available in this latest v3.0 firmware update include time-code and recording status displays on the SDI and HDMI outputs, up to 500 ms of audio delay to compensate for multi-device picture delay, and selectable 4:4:4 or 4:2:2 video output independent from the source material.

Users can connect PIX 240 and 240i to cameras with HD-SDI, 3G-SDI, or HDMI and record directly to QuickTime using a range of different Apple ProRes or Avid DNxHD codecs, including Apple ProRes 4444. Since PIX recorders use ProRes and DNxHD, files recorded in the field can be used directly in post production, making for simpler, faster workflows.

The PIX 240i’s high-performance five-inch, IPS-based LCD display is an accurate field monitor, providing users with immediate confirmation of framing, exposure, focus,  audio metering, and setup menu selections. It offers excellent color accuracy and contrast, great off-axis visibility, and accurate motion tracking.

The built-in hardware scaler and frame rate converter allows PIX to output and record material at different resolutions and frame rates than supported by the camera. Conversion between HD and SD, with and without anamorphic conversion, is available.

The audio circuitry of the PIX recorders is based on Sound Devices’ award-winning 7-Series digital audio recorders. The low-noise (-128 dBu EIN), high-headroom, high-bandwidth inputs are mic/line switchable and include limiters, high-pass filters and phantom power.

The HDMI-only PIX 220 and PIX 220i video recorders also gain new features available in the new version 3.0 update, including Apple ProRes 4444 recording, time-code and recording status displays on HDMI outputs, and up to 500 ms of audio delay to compensate for multi-device picture delay.

For more information, visit: www.sounddevices.com

New Policy Retroactive for all Products, Including Equipment Already in Use

Sound Devices, experts in portable audio and video products for field production, announced it has changed its warranty policy from one to two years for both parts and labor. This retroactive change extends the product warranty for all Sound Devices products already in the field.

“We are proud to announce that we have extended the warranty on all of our products to our customers,” says Jim Koomar, Vice President of Sales at Sound Devices. “This warranty extension provides an additional year of coverage to our customers and also serves as a way to thank loyal users for choosing our products.”

As a customary part of Sound Devices product ownership, the company also offers regular firmware updates in order to keep its customers up-to-date on the very latest features and technology. These updates, which include numerous functional enhancements, evolve directly from customer feedback. This gives users an effective way to upgrade to the latest technology without having to purchase a new unit. This year alone, the company has offered numerous updates for its audio mixers, audio recorders and video recorders. All firmware updates are available free of charge and can be easily downloaded by visiting http://www.sounddevices.com/download/.

Another free tool available to the industry is Wave Agent, a multi-purpose, cross-platform utility for playing, editing and managing WAV files. Wave Agent includes a comprehensive and indispensable range of tools for preparing sound files for problem-free passage through complex production workflows. Designed for production sound mixers and post-production editors, Wave Agent is also available as a free download from the company’s website.

For more information, visit www.sounddevices.com

Sound Devices, experts in portable audio and video products for field production, showcases its latest audio and video production gear for content creation professionals at this year’s CCW (Booth 946). The company is exhibiting the recently upgraded PIX 240i and PIX 260i Audio/Video Recorders, as well as the 664 Production Mixer.

Sound Devices’ PIX 240i Audio/Video Recorder features a five-inch, IPS-based LCD panel with accurate color rendition and consistent off-axis viewing response. The upgraded display is essential in the field, providing users with immediate confirmation of framing, exposure, focus, audio-metering and setup menu selections. It also offers higher contrast and better off-axis viewing. PIX 240i users can monitor an image’s exposure with Exposure Assist, a feature that depicts either false-color or multilevel zebra stripes. It comes equipped with Focus Assist, which includes a peaking filter and 1:1 pixel zoom. Monitor brightness, contrast and chroma adjustments are also now available. PIX 240i provides standard definition recording (NTSC and PAL) and support for using simultaneous analog and SDI/HDMI audio inputs.

Users can connect the PIX 240i to cameras with HDMI (plus SDI with the PIX 240i) and record directly to QuickTime using Apple’s ProRes or Avid’s DNxHD codecs. Use of these codecs enables files recorded in the field to be used directly in post production, making the workflow simple and fast. The audio circuitry on the PIX 240i is based on Sound Devices’ award-winning 7-Series Digital Audio Recorders. The low-noise (-128 dBu EIN), high-headroom, high-bandwidth inputs are mic/line switchable and include limiters, high-pass filters and phantom power.

Also on display is the Sound Devices PIX 260i Production Audio/Video Recorder. Based on the field-proven PIX 240i recorder, the rack-mounted PIX 260i is a file-based audio/video deck that seamlessly replaces tape-based video decks in production and post-production environments, while offering 32 tracks of audio record/playback. Using the Apple ProRes or Avid DNxHD codecs, the PIX 260i records and plays files at up to 220 Mbps in high-quality, 10-bit 4:2:2 video. It also records 32 tracks of 48-kHz audio. Files from the PIX 260i are ready for direct import into the Avid and Final Cut Pro editing platforms, eliminating time-consuming transferring and transcoding. Files can also play out of the PIX 260i for real-time applications.

The PIX 260i has a built-in, five-inch 800 x 480-pixel IPS video display that allows users to view video and setup-menu selections. With its extensive control capabilities, the PIX 260i is a flexible video playback source, compatible with Final Cut Pro 7, Final Cut Pro X and Avid QuickTime files. The PIX 260i can be controlled by both external RS-422 and via Ethernet through its embedded Web server, allowing for machine transport control over Ethernet-based networks.

Up to four SATA drives can be connected to the PIX 260i simultaneously. For RAID-type redundancy and to eliminate the need for post-record copying when multiple copies are required, users can record to all four drives simultaneously.

As with the PIX 240i, the PIX 260i includes a built-in Ambient Clockit time-code generator/reader with genlock output for rock-steady, multi-camera and double-system sound applications. In addition to generating ultra-stable time code, time codes can be read from the SDI stream, the HDMI stream or from an external source.

Sound Devices will also be featuring its 664 Production Mixer at CCW 2012. The 664 was designed to build upon the powerful features of the company’s best-selling line of field and production mixers and offers expanded input/output connectivity and recording capabilities, along with greater flexibility and ease-of-use. The flagship recorder’s six input channels have dedicated controls for trim, fader, pan and PFL. The inputs and four output buses are all recordable, for a total of 10 tracks of recording.

The 664 contains six ultra-low noise, high-dynamic range and transformer-less preamps, which accept mic- or line-level signals and include analog peak limiters, high-pass filters, input trim control and direct outputs on every channel. Featuring full analog audio paths for high-performance audio and superb power efficiency, the 664 also has numerous digital capabilities. Inputs 1 and 6 can be selected as AES3 or AES42 inputs for digital microphones, each with its own SRC for simplicity in system clocking.

The 664 can record up to 10 tracks of 16- or 24-bit broadcast WAV files to SD and/or CompactFlash cards. All inputs and outputs are individually selectable for recording, enabling the mixer to record all 10 channels of audio. With the 664’s dual card slots, content can be recorded to either or both cards simultaneously, with the added ability to assign different tracks to each memory card.

Sound Devices is also highlighting a companion accessory, the CL-6 Input Expander, for the 664 Production Mixer. It is designed specifically to add six analog line-level inputs to the mixer. With the CL-6 attached, the direct output connectors are available as inputs, controlled by faders located on the CL-6 front panel. The CL-6 also offers additional LED output metering and duplicate-recording transport controls. With the 664 Production Mixer connected to the CL-6 Input Expander, users can now record all 12 input channels and four outputs, for a total of 16 tracks.

For more information, visit: www.sounddevices.com

Versatile Gear Holds Up to the Rigors of STARZ Series’ Busy Production Schedule

When Riordan Sound Services President and Production Sound Mixer Alex Riordan was called upon to record sound for the second season of Boss, a STARZ original television series, he turned to Sound Devices for his audio needs. Relying primarily on the Sound Devices 788T digital recorder and CL-8 controller, Riordan and his crew captured the dynamic sound for the hit show.

An American political drama series, Boss stars Kelsey Grammer as Tom Kane, the mayor of Chicago, who has recently been diagnosed with dementia with Lewy bodies, a degenerative neurological disorder. Determined to remain in charge, Kane conceals the disease from everyone around him except his own physician. The first season premiered in October 2011, with the second season debuting in August.

For his work on Boss, Riordan built a new sound cart featuring Sound Devices gear. “I used a 788T as my main recorder and had the CL-8 connected to it,” he says. “I would move the 788T and CL-8 off the cart and into a bag for some of our more mobile locations. After a while, production was moving so quickly that after a month into the show I bought a second 788T and incorporated it into a dedicated bag rig, with all the wireless gear. This way, it was ready to go at all times. It got to the point where I actually had that bag rig live on the bottom shelf of my mixer cart, so all I had to do was reach down, throw a battery in it, turn it on, grab my CompactFlash card out of the cart 788T, throw it in the bag 788T, set up my folders, jam my time code and check scene and track names, and I was off.”

In terms of tracks, Riordan sent a mix to channel one. His main boom was iso’d on track two, and he used the remainder of the tracks for isos of the wireless lavs, second boom and plant mics. Boss was the first show Riordan recorded completely with wireless booms. As a result, he didn’t need to run any audio cable, saving considerable time in the show’s fast-moving production environment. Just before production started, Riordan also purchased a Sound Devices CL-WIFI and an iPod Touch that he put on the cart for displaying meters and track names. “The CL-WIFI and iPod were a last minute addition to the cart and I quickly became reliant on the display to help me keep the ever changing track names straight. Not to mention everyone on set would ask me about it and say how cool it was,” adds Riordon.

In addition to the 788T, CL-8 and CL-WIFI systems, Riordan also employed a Sound Devices 442 field mixer and 744T portable four-track audio recorder on the Boss set, for times when he didn’t need as many tracks. This way, he could easily place the rig in the trunk of a car. “For most of the car scenes, we used wireless plant mics in the cars, so we had a few options in case a seatbelt rubbed up against the lav or something,” he says. “As we moved so fast and didn’t get a rehearsal, I put a lot of mics out there, just to give us more options. Since we didn’t get another take for sound, we tried to get a lot of things recorded and then see what worked.”

In addition to his work on Boss, Riordan and his crew use his large inventory of Sound Devices gear for various film projects, television shows and commercials produced in the Chicago area and beyond. Since Boss Riordan has mixed the Chicago portion for season 3 of Shameless and mixed some additional unit sound on the new TV show, Mob Doctor.

“Sound Devices gear has always provided me the functionality, reliability and portability, I need to be able to pack and go with confidence,” concludes Riordan. “I can’t wait to see what Sound Devices comes out with next!”

The Sound Devices 788T boasts eight full-featured inputs and records up to 12 tracks. It accepts either microphone or line-level signals, provides 48-V phantom power for condenser microphones, offers peak limiters for microphone inputs and features fully adjustable high-pass filters—all in a compact package. Based on the 788T, the Sound Devices 788T-SSD includes a factory-supplied 256-GB solid-state hard drive, allowing for superior performance in the field.

Sound Devices CL-8 is a portable mixing control surface for its 788T recorder. Its large rotary faders and push buttons bring extensive mixer-type control to 788T inputs. The lightweight CL-8 can be used either mounted or remote from the 788T. The Sound Devices CL-WIFI allows users to control the already powerful 788T from anywhere on set. CL-WIFI works together with its companion iOS software app to allow iPads, iPhones and iPod Touches to control a connected 788T. The CL-WIFI turns an iOS device into a simple, portable control surface, enabling a sound mixer to move around on set, away from the sound cart, while still retaining extensive control and monitoring of the 788T recording system.

For more information, visit: www.sounddevices.com

32-Track Audio Recorder Incorporated into File-Based Audio/Video Recorder/Player

Sound Devices, experts in portable audio and video products for field production, showcases its new PIX 260i Production Audio/Video Recorder at AES 2012 (Booth 934). Based on Sound Devices’ field-proven PIX 240i recorder, the rack-mounted PIX 260i is a file-based audio/video deck that seamlessly replaces tape-based video decks in production and post-production environments, while offering 32-tracks of audio record/playback.

“We are excited to showcase PIX 260i at AES. Its impressive 32-tracks of audio record and playback is a great feature for many audio professionals,” says Jon Tatooles, managing director at Sound Devices. “Our entire line of PIX recorders provides users with an all-in-one audio and video product.”

Using the Apple ProRes or Avid DNxHD codecs, the PIX 260i records and plays files at up to 220 Mbps in high-quality, 10-bit 4:2:2 video. It also records 32 tracks of 48-kHz audio. Files from the PIX 260i are ready for direct import into the Avid and Final Cut Pro editing platforms, eliminating time-consuming transferring and transcoding. Files can also play out of the PIX 260i for real-time applications.

Building on the company’s deep heritage in production sound, Sound Devices has infused the PIX 260i with 32-track record/playback capability. In addition to 16 channels of embedded SDI audio and eight channels of HDMI audio, the PIX 260 also accepts eight channels of line-level analog I/O and eight channels of AES digital audio. Using Dante, the PIX 260i can accept and transmit up to 32 channels of audio over Ethernet.

The PIX 260i has a built-in, five-inch 800- x 480-pixel IPS video display that allows users to view video and setup-menu selections. With its extensive control capabilities, the PIX 260i is a flexible video playback source, compatible with Final Cut Pro 7, Final Cut Pro X and Avid sessions. The PIX 260i can be controlled by both external RS-422 and via Ethernet through its embedded Web server, allowing for machine transport control over Ethernet-based networks.

Up to four SATA drives can be connected to the PIX 260i simultaneously. For RAID-type redundancy and to eliminate the need for post-record copying when multiple copies are required, users can recorder to all four drives simultaneously.

The PIX 260i includes a built-in Ambient Clockit time-code generator/reader with genlock output for rock-steady, multi-camera and double-system sound applications. In addition to generating ultra-stable time code, time codes can be read from the SDI stream, the HDMI stream or from an external source.

Like PIX 220i and PIX 240i, the PIX 260i includes a sophisticated scaler and frame-rate converter. Regardless of the incoming signal, the PIX recorders can record the signal after up-, down- or cross-conversion at the same rate or a different rate. Hardware-based 3:2 pull-down removal is included as well.

PIX 260i’s convenient half-rack, 2U chassis dimension allows it to be easily integrated into any existing environment. It is powered by 10-27 VDC through its four-pin XLR connector.

For more information, visit: www.sounddevices.com

Flagship Mixer Features an Unprecedented Amount of I/O Connectivity and Recording Flexibility

Following its recent international introduction at IBC 2012, Sound Devices’ 664 Production Mixer will make its first professional audio debut at AES 2012 (Booth 934). Sound Devices, experts in audio and video products for field production, has designed the 664 to build upon the powerful features of the company’s best-selling line of field and production mixers. This new flagship mixer offers expanded input/output connectivity and recording capabilities, along with greater flexibility and ease-of-use. Its six input channels have dedicated controls for trim, fader, pan and PFL. The inputs and four output buses are all recordable, for a total of 10 tracks of recording.

The 664 contains six ultra-low noise, high-dynamic range and transformer-less preamps, which accept mic- or line-level signals and include analog peak limiters, high-pass filters, input trim control and direct outputs on every channel. Featuring full analog audio paths for high-performance audio and superb power efficiency, the 664 also has numerous digital capabilities. Inputs 1 and 6 can be selected as AES3 or AES42 inputs for digital microphones, each with its own SRC for simplicity in system clocking.

The analog output compliment includes four output buses. The L and R buses are on balanced XLR, 10-Pin and TA-3M connectors; unbalanced on TA-3M or 3.5mm connectors. Secondary output buses X1 and X2 are available on balanced TA-3M connectors. Inputs and buses can be routed to four AES3 connections for eight digital outputs on the XLR and 10-pin connectors.

The 664 can record up to 10 tracks of 16- or 24-bit broadcast WAV files to SD and/or CompactFlash cards. All inputs and outputs are individually selectable for recording, enabling the mixer to record all 10 channels of audio. With its dual card slots, content can be recorded to either or both cards simultaneously, with the added ability to assign different tracks to each memory card.

The 664 includes a high-precision, Ambient-based time-code generator/reader for multi-camera and double-system sound applications. All common production time-code rates and modes are supported.

Sound Devices also introduces a companion accessory, the CL-6 Input Expander, for the 664 Production Mixer. It is designed specifically to add six analog line-level inputs to the mixer. With the CL-6 attached, the direct output connectors are available as inputs, controlled by faders located on the CL-6 front panel. The CL-6 also offers additional LED output metering and duplicate-recording transport controls. With the 664 Production Mixer connected to the CL-6 Input Expander, users can now record all 12 input channels and four outputs, for a total of 16 tracks.

The 664 features an abundance of connectivity options in addition to the main audio I/O, catering to the complex productions becoming more common today. It has expanded return-monitoring capabilities, with three separate camera returns as well as a dedicated private-line communications connection. The 664, like the 552, has a built-in slate microphone and tone oscillator, and includes a dedicated input for an external slate mike. The internal or external slate mike can be routed to either outputs or to the dedicated comm output. The 664 can easily build a private-line communication with a comm return input, separate from camera returns.

“Our customers are looking for more inputs, connectivity, flexibility and power in the field,” says Jon Tatooles, managing director, Sound Devices. “We have taken the strengths and knowledge gained from our existing mixer line and continue to evolve the technology to meet the growing needs of sound mixers. The 664 is how we see the future of high-performance field mixers; they need to have recording capabilities in order to be a fully functional tool in the field.”

Sound Devices’ 664 features an intuitive LCD menu enabling users to simply adjust input settings. It also offers the capability to see how an input is routed and connected when its settings are altered. The LCD display also allows users to quickly activate the individual tracks that are to be recorded. The Sound Devices 664 features dedicated front panel controls for gain, trim and faders, as well as full-size XLR connectors. The mixer is powered by five AA batteries or external DC power.

The 664, like all Sound Devices products, is designed to withstand the physical and environmental extremes of field production. Its top and bottom chassis panels are made from molded, metalized carbon fiber for superior durability and weight reduction. The chassis panels are also gasketed for water resistance.

For more information, visit: www.sounddevices.com

Portable Recorder Takes to the Skies to Provide Powerful Recording and Monitoring Capabilities in a Compact File-Based Unit

When Patrick Longman, cinematographer and aerial specialist at Active Camera Systems, an aerial cinematography and rental company based in Florida, was looking for a portable recorder that would fit into his helicopter’s aerial photography system and provide the high-quality recording and monitoring capabilities he was looking for, he turned to Sound Devices PIX 240 recorder.

Longman first saw Sound Devices PIX 240 at the 2012 NAB show. At the time, the recorders he was using had limited feature sets, along with separate monitors and tape decks. “I wasn’t happy with my existing recording equipment and felt it was time for an upgrade,” says Longman. “All of the sound recording specialists and industry experts that I have spoken with told me that Sound Devices equipment was high quality, packed with features and that their support was top notch, so I decided NAB would be an excellent opportunity to check out their products. The PIX 240 made an immediate impression on me at the show and I decided to try one out. It worked out great and I have subsequently purchased several more of them.”

Longman, who was able to mount the PIX 240 directly into the console of the helicopter, used the recorder for the recently concluded season of the hit HBO football reality show Hard Knocks, along with his Sony Cineflex camera system. This upgraded rig was used to record all of the aerial footage for the show. Longman’s aerial system soared above South Florida as it followed the NFL’s Miami Dolphins during training camp. Longman’s gear was used to shoot the opening montage, which highlights the Miami coastline and skyline. Longman also captured all the aerial footage while flying over the Dolphins’ practice field.

“In addition to its compact size, one of the features that I really like about the PIX 240 is that it has a built-in monitor, so you know that once you plug in your feed from the camera to the recorder, you got your picture,” adds Longman. “With other recorders, I would plug into the recorder and then out of the recorder to the monitor—it’s nice to just have PIX 240 directly plugged into my camera.”

Sound Devices PIX 240 is the perfect companion to a wide range of professional cameras used for feature films, such as ARRI and RED, as well as small-format HD cameras from Sony and Canon. PIX 240 connects to cameras with HDMI or SDI and records directly to QuickTime using Apple’s ProRes or Avid’s DNxHD codec. Since PIX recorders use the Apple ProRes and Avid DNxHD codecs, files recorded in the field can be used directly in post production, making the workflow simple and fast.
“Another feature that I really like about PIX 240 is that it allows you to record both Apple ProRes and Avid DNxHD codecs,” adds Longman. “Since these are the two most common native files that editors are looking for, I am able to accommodate either request depending on the editor’s editing software choice, by using PIX. Being able to immediately monitor these files is also really helpful, as is the PIX 240’s ability to generate time code.”

In addition to his work on Hard Knocks, Longman’s aerial photography has been used on numerous projects, including the USA Network hit show Burn Notice, as well as Charlie’s Angels and various commercials, including those for AT&T, BMW and Rolex, to name a few.

Sound Devices recently announced that it has upgraded its PIX 220 and 240 recorders.  The PIX 220i and PIX 240i feature five-inch IPS-based LCD panels, with accurate color rendition and consistent off-axis viewing response. The new recorders’ high-performance, five-inch, IPS-based LCD displays are essential in the field, providing users with immediate confirmation of framing, exposure, focus, audio metering and setup menu selections. The new IPS-based displays also offer higher contrast and better off-axis viewing.

In addition, Sound Devices has released version 2.01 firmware for all PIX video recorders. This new revision offers numerous features, including support for ARRI ALEXA SDI filename metadata. New playback control is available, including customized list playback, looped file playback and additional shuttle speeds. The new version also offers HD-to-SD and SD-to-HD aspect ratio conversion with selectable letter boxing, cropping and support for anamorphic workflows.

Sound Devices’ PIX 220i and PIX 240i enable users to monitor an image’s exposure with Exposure Assist, a feature that displays either false-color or multi-level zebra-stripes. It comes equipped with Focus Assist, which includes a peaking filter and 1:1 pixel zoom. Monitor brightness, contrast and chroma adjustments are also now available. PIX 240i provides SD recording (NTSC and PAL) and support for using simultaneous analog and SDI/HDMI audio inputs. In addition, the PIX 240i has a built-in Ambient Clockit time-code generator/reader with genlock output for multi-camera and double-system sound applications. The source time code can be derived from the SDI stream, an external source or the built-in generator in the PIX 240i. Other key features include digital audio inputs on AES3 and an external eSATAp connection for direct connection to large SATA drives.

The audio circuitry on the PIX 220i and PIX 240i is based on Sound Devices’ award-winning 7-Series digital audio recorders. The low-noise (-128 dBu EIN), high-headroom, high-bandwidth inputs are mic/line switchable and include limiters, high-pass filters and phantom power.

For more information, visit: www.sounddevices.com

Industry Veteran Brings More Than 20 Years of Experience To Company

Sound Devices, developer of audio and video products for field production, announced that Pat McConnell has been named sales manager. In his new position, Pat will work directly with the Sound Devices sales team to further promote the company’s entire range of audio and video products. In addition to driving sales initiatives, he will work to strengthen the Sound Devices reseller and distributor network. Pat is based at the Sound Devices office in Reedsburg, WI.

With more than two decades of experience in the audio and visual industry, Pat brings a strong background in live performance, systems engineering and production to Sound Devices. His consultative sales approach will help to further educate Sound Devices’ customers on the company’s products.

Prior to joining the Sound Devices team, Pat worked as a manufacturer’s representative with AudioBiz Incorporated, a Midwest U.S. representative of pro audio companies. During his 13-year tenure at AudioBiz, Pat received multiple national awards, including Salesperson of the Year from Shure Incorporated.

First starting out as a musician, he spent years performing professionally and taught recording technologies at an accredited Midwest media college. In addition to his performance career, Pat held several sales management positions in the Wisconsin area and also owned and operated PostScript Productions Incorporated, a regional sound company in Madison, WI.

“Pat’s extensive experience and proven track record will make him an important part in building Sound Devices’ position as a leader in our markets,” says Jim Koomar, director of sales for Sound Devices. ”We are very excited to have him be part of our sales team.”

For more information, visit: www.sounddevices.com