Cinedeck Production Workflows

Cinedecks offer trailblazing flexibility for endless workflow options.

Whether it’s SD, HD, 2K, UHDTV-1 or full 4K, a single-camera shoot or multi-cam live event, Cinedecks deliver unrivaled speed and versatility, dramatically streamlining your production to post to delivery workflow.

All current Cinedeck models run the same easy-to-use interface and are designed around the same video hardware. They are interchangeable, supporting many of the same workflows for a wide range of production and post production tasks.

Read on and discover just a few ways Cinedecks can help improve your studio and OB workflow.

CINEDECK MULTICAM: The most efficient, cost-effective camera to post workflows

    Cinedecks are ingest & encoding servers optimized for multi-cam production, post-production and finishing applications. The user interface and extensive feature-set is designed around years of feedback from a broad-range of industry professionals – EICs, Producers, Editors, machine-room technicians and facility owners. We describe our products as optimized because they address the needs of real day-to-day production and post-production workflows and critically, eliminate the gaps and pain-points often confronted in the process.

    Cinedecks give you a direct path from lens to edit-ready files on your server which means multi-cam production is simple.  Create edit-ready low-res files for post faster by encoding master and proxy simultaneously across multiple channels. Matching metadata across all channels ensures easy matchback between your edited low-res timeline and your master encodes.

    For instance in an Avid workflow, create DNx145 Masters along with 10:1 JFIF proxies simultaneously across multiple channels.  Each Cinedeck encode of master and proxy also includes an AAF which means Drag & Drop, you don’t have to run your files through AMA before editing.

    Just as important as workflow streamlining, in today’s cost-conscious environment, Cinedecks give you the features you need and want at costs far lower than the competition.


    There really is no reason to put up with the pain and time lost with traditional multi-cam production.

    Typically, you might record multiple cameras to a rack full of tape machines, or perhaps optical disks, you might even record in camera so you can go direct to files but when recording stops, the headaches start; Ingesting, Copying, Transcoding, Renaming, Proxy generation… The list goes on, the days go by and the cost goes up!

    With a Cinedeck, SDI goes in and Edit-Ready files come out; ProRes, AVC-Intra, XDCAM and more, all written directly to the storage you need to work from and with names you can read and understand, today and tomorrow.


    Outside broadcast productions have traditionally used tape decks for recording but Mobile environments often put significant limitations and strain on operators and the gear itself. This is where the physical design and capabilities of Cinedecks really shine.

    For example, Cinedeck ZX has a smaller physical footprint and weighs less than a typical tape deck such as a Sony BVW-75, yet a ZX45 provides four or even eight times the recording power at quality levels that can surpass any tape deck. You get all this in a system that is extremely easy to set up and operate. Changing modes or formats on a Cinedeck, say from PAL SD IMX to 720p 59.94 DNx recording, takes about 5 seconds while the most complicated mode change, HD to 4K or 8-channel mode, takes just a few minutes and does not require an app just to figure out what you need to change.

    You can quickly set up all Cinedeck platforms to fit your customer’s on-location mobile video production requirements, creating virtually any combination of Master and Proxy files on the most convenient storage destinations – as you make significant savings on weight, space and training.

    Keep your clients happy with the fastest turnaround of master, proxy or H.264 files. With Cinedecks encoding master and proxy files simultaneously and redundantly, as soon as the credits roll, your client can walk away with a set of ready-to-edit files, to start post production right away and you can keep a set of files on-hand, just in case…

    More information about Master & Proxy Encodes


    Cinedeck multi-channel, multi-codec, stand-alone recording/ingest appliances are the ultimate replacement for VTR-based studio workflows. They can be transported and connected as easily as a VTR, provide all of the typical features users are accustomed to, while adding significant enhancements. These include: the ability to directly encode content as a broad variety of files which are native and fully compatible with all post-production environments; files that can be written to virtually any storage destination, all under your control via a local display for system management and viewing video with analysis tools.

    With the transition to file-based workflows, there is a growing need to record directly to files. The missing link has been an appliance that provides simple and flexible file-based recordings – one that is network-friendly, yet can operate in isolation, stand-alone like a tape deck with full local control or be fully integrated. A system that delivers the functions you need without breaking the bank. 

    Whether you need full integration with recording directly to a SAN or NAS, hardware that can be easily moved between locations or recording media that can be instantly removed, Cinedecks are the perfect accompaniment to any studio. With support from SD to 4K and virtually every codec and wrapper you might need, you can handle every project with the push of a button. Multiple remote access methods; RS-422, AMP API, VDCP and VNC, mean Cinedecks will fit your workflow and with a simple LAN based remote application, triggering multiple records requires just one touch.

INTERPLAY CHECKIN: Cost-effective Avid-native workflows

    All Cinedecks are capable of Avid Media Central Check-in and Edit While Capture. Depending on your system, you can have up to 8 channels for capture directly to your Media Central environment. Or, simply check-in media that was created on Cinedeck whether you are doing edit while capture, or not.

    While Interplay Multi-Res is also supported, Cinedeck recorders can encode H.264 files in a Interplay-friendly MXF OpAtom wrapper.

    Tip 1: Use the blacked file workflow in your Avid Media Central environment so you can:

    (a) Have Added Security. Since blacked files are already complete files, a network failure won’t compromise your recordings.

    (b) Multi-user Review and Scrub from Anywhere. View the ‘growing’ files from any player or NLE capable of reading Avid-native opAtom files and have multiple users play/scrub and give multiple users access to the files for play/scrub. the files as new content is overwritten.

LIVE TO FILE: Build your program in pieces with no export or rewrap.

    Many broadcasts, especially daily, ‘current events’ programs are essentially produced live but not aired live. These shows can be recorded as files and, if no mistakes are made during the session and nothing needs to change after recording is complete, the files might be directly usable. This however is the real world where something always changes and people make mistakes. It also means some sort of time-consuming import or export needs to occur after the fix – terribly inefficient when compared to the immediacy of delivering a program Live-to-Tape.

    Live-to-File simply means you can build a program in pieces or blocks, fix and change things as you go and when you get to the end, the show file does not require an export, consolidate, render or transcode, it’s done and ready to go.

    By placing Cinedeck in Insert Baseband mode, the recordings leverage Cinedeck’s patent pending insert edit engine by inserting into VMM (Virtual Mastering Media). Just like insert edits to tape, a pre-blacked file (VMM) is first created. After that, content is freely inserted into the file anywhere and anytime. This provides the ability to build Live-to-File shows out of order and most codecs support Total Confidence Recording meaning the master file can be played simultaneously while still recording, allowing full QC to occur or even broadcast playback to begin while the show is being finished.

PLAYOUT: Codec flexibility and versatile file storage choices means easy content playout on Cinedecks

    Cinedeck Playout Workflow For studio roll-in, transmission or general viewing, Cinedeck platforms can access and play files from your preferred storage; SAN, NAS, SSD or other local drives, regardless of the folder structure. Just as important, no changes to system settings are required to support different codecs, simply select a clip and play.

    Because Cinedecks recognize and natively support a wide variety of codecs and wrappers, the types used and generated by most edit and finishing systems, you can work with the file types you prefer! You are not forced to export, import or transcode to make your content compatible with some proprietary play-out flavor. Moreover, SD clips can be automatically up-rezed to HD on playback for mixed format production environments.

    Cinedeck’s built-in playlist manager lets you build simple timelines, containing multiple clips and or sub-clips, eliminating the need for working in a separate edit system to prepare content for play-out. The multi-codec playlist manager includes several list-play behaviors such as playing the entire list and pausing at the first frame of the next clip in the list so it’s ready to play when you are.

    When combined with the AMP or VDCP protocols or RS-422 for controlling your Cinedecks, play-out can be dramatically simplified.

4K/UHD: Exploit the power of Cinedeck in your 4K workflow

    4K production can cost more but it does not need to be exorbitant, nor must it be painful – This is where Cinedecks provide broad benefits.

    If you are producing content for general distribution, you will likely need:

    • 4K/UHD master files to produce 4K final deliverables
    • HD master files to generate HD deliverables
    • Color corrected HD proxy files to allow more efficient editing
    • Color corrected H.264 files to livestream during acquisition or for later upload

    ProRes, DNx, H.264 and more… Cinedecks deliver redundant versions of all the needed files simultaneously and in real-time, while you are recording. You have instant editorial and archive access so there is no time wasted; copying, transcoding, re-wrapping, encoding, etc. Conversely, without Cinedeck, each additional camera multiplies the processing time required to prepare your files for edit.

    Storage is another factor. Cinedecks allow you to put these files where you need them, in real-time. Take for example a Media Composer workflow. Cinedecks can write Avid native OpAtom files directly to ISIS/NEXIS or virtually any other SAN or NAS, eliminating all barriers between acquisition and editing. Starting the edit is pretty much as simple as Drag & Drop.

    Of course, all these different files use identical timecode and unrestricted flexibility in file and folder naming, delivering seamless transitions between off-line, on-line and finishing.

ENCODE | MEDIA MANAGEMENT | ARCHIVE: Cinedeck allow easy encoding of multiple sources

    As tape-based production fades and is replaced by files, simplicity and versatility is getting lost. It may seem like the only choice is a cheap disk recorder, which makes the production to post process even more of a headache or, extremely costly systems that are fabulous for sports but are extreme overkill for basic recording.

    Welcome to Cinedeck!

    By easily tying into patch panels and routers to access tape decks, NLE systems, telecine systems and camera sources, Cinedecks facilitate quick, simple encoding to a wide range of codec, quality and wrapper choices.

    Each channel can be individually set to encode different frame-rates, resolutions and bit-depths and can simultaneously record master and proxy files to redundant locations. The systems can write to local, hot-swappable SSDs, local attached storage as well as your SAN and NAS systems, providing the right file types for every production and post environment, exactly where they are needed. In addition, File and folder naming is unrestricted and XMLs can be generated for each record for robust media asset management.

    Cinedecks also support archival codecs and wrappers like mathematically lossless JPEG 2000 wrapped as AS02 or AS11 files, while also supporting high frame-rates and resolutions in UHD and 4K, giving you flexibility for your archiving needs, all in one appliance.


    Cinedeck has a new Windows based remote control application available in two off-the-shelf configurations.

    The free multi-channel controller provides manual control of up to eight Cinedeck channels across several decks and can be run from multiple desktops simultaneously. All versions of the application also support user configured channel groups that can be recalled for one touch control of multiple channels simultaneously.

    The more advanced control application provides all of the above features, supplemented by event-based project selection and record scheduling, for up to eight Cinedeck channels at a low cost.

    Perhaps most important, like the Cinedeck recorders, the remote interface has been expressly designed for customization so get in touch to discuss your specific needs.

HDR SUPPORT: Cinedecks capture HDR metadata so your HDR files can go from acquisition to post.

    All Cinedeck recorders support HDR workflows. With a simple UI selection, you can choose to insert the HDR flag, whether you are using the HLG or PQ standard.