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Archiving & Asset Management Posts

Our annual Post-NAB event that we held in NY earlier this week was a success — we had a great turnout and more gear than ever before. During the event, we tried something new and streamed interviews with some manufacturers directly to Facebook Live. If you missed those interviews, don’t worry, you can watch them all below!

…continue reading Live from NY: It’s Post-NAB 2017

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I stopped by the G-Tech booth, where Matt Bennion showed me their latest update to the EV Series G-Speed Shuttle XL.

The G-Speed Shuttle XL is now available with Thunderbolt 3 connectivity, allowing for up to 1500MB/s transfer rates. The Shuttle XL is an 8-bay RAID enclosure which, by default, is configured with with six hard drives and two EV bays. The EV bays can be populated with any EV compatible accessory, like the RED Mini-Mag reader Matt shows us, as well as Atomos Master Caddies and SSD drives.

This product will help DITs to manage offloading footage and creating backups without a confusing array of readers and a mess of cabled drives. The G-Speed Shuttle XL is compatible with all of the latest offload software, such as ShotPut Pro, Silverstack and Hedge, but footage can also easily be dragged onto the drives in a more plug-and-play sense, however, you will not have the benefit of a checksummed or monitored copy.

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I stopped by the Imagine Products booth to get an introduction to their new PrimeTranscoder from Marketing Director Michelle Maddox. Imagine Products may be best known as the maker of the industry-standard media offloading/verified copy application, ShotPut Pro (now in version 6). PrimeTranscoder uses a similar interface and works with ShotPut Pro to create transcodes of original camera footage for dailies/review and edit media in a variety of standard formats. One great feature is the ability to merge clips. You could, for example, make a single clip out of all of the circled takes from a day of shooting and transcode to H.264 so the director could review footage on his or her iPad while traveling. In a case like this, each source clip’s timecode can either be preserved or new source timecode for the joined clip can be applied. Additionally, a LUT can be applied to the footage during transcoding to bring Log footage into the REC709 space with a show- or crew-specific look on it (compatible with standard .cube files as exported by programs like DaVinci Resolve).

PrimeTranscoder is a one-time purchase license, as opposed to a subscription, and new features introduced in “dot” releases will be available as free updates. Similar to ShotPut Pro, PrimeTranscoder uses preset templates that direct its behavior as far as output destinations, input and output formats, and watched folders. Watched folders look for files being added to a folder (such as with ShotPut Pro), and once the files are copies and verified, PrimeTranscoder can then take over and create the additional versions of offloaded files. PrimeTranscoder also features user-selectable GPU acceleration, leveraging your computer’s graphics hardware to significantly speed up the transcoding process. Unused audio tracks can also be trimmed from further versions of clips, always appreciated by editors. Rich burn-in and watermark options are available as well.

PrimeTranscoder is available now as a download from the Imagine Products website and is priced at $699. A free trial is available as well. Watch the video above to learn more.

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Although NAB may be a couple of months behind us now, it can still be useful to look back and notice some of the major technology trends that we saw at this year’s show. I recently did this in an article for Crews Control.

One of the lessons from NAB is that UHD or 4K for TV production is definitely here to stay. All of the major camera manufacturers have already produced 4K cameras, and the workflow is supported by 4K/UHD displays, non-linear editing applications (Avid, Premier, FCPX) and streaming encoders. Secondly, there is no more “it’s just for the web” rationale – audiences expect high-quality video on every platform or screen size.

All this content needs a management strategy. In my article, I discuss new developments in shared storage, archiving, IPTV/streaming encoders, and cloud-based editing in-depth. Read the full article:

NAB 2015: What We Learned at This Year’s Show

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Data archiving is not something most of us want to think about, but it’s a reality that all filmmakers have to face today. The demand for lower compression and higher resolution material is increasing, meaning that we all eat through hard drives much faster. On the bright side, archiving is getting easier and more affordable all the time. The LTO tape format has become the standard for data archiving in our business, and the new LTFS (Linear Tape File System) makes it easy to use. One downside of an LTO deck setup is that it is usually tied to a full computer workstation. That’s where mLogic’s mTape comes in.

…continue reading At the Bench: mLogic mTape LTO-6 System

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Sony is known for their reliable and proven Optical Disc technology. Many of us have countless numbers of their XDCAM discs on our shelves serving as an archive, just like we used to do with tape stock. Sony has recognized the need to archive material in a larger format with the same reliability (up to 50 years based on testing), so they built an Optical Disc Cartridge, which combines 12 discs into one container, sort of like a car CD changer. Cartridges come in sizes up to 1.5 TB, in either write-one or re-writable formats.

…continue reading At the Bench: Sony Optical Disc Archive System

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AbelCine offers scalable software and hardware to manage your digital assets effectively and affordably. These systems have been chosen because they work well together and offer simple, straightforward solutions that can leverage your existing resources rather than over-complicate your workflow. We know that no two projects are the same, so please contact our sales team for help creating the perfect media management archiving solution for your application.


CatDV: Find / Manage / Share

CatDV solves media management problems by allowing loggers, producers and editors to find and share assets quickly and easily. The common feature of the CatDV software family is metadata (a set of data that describes and gives information about other data) that describes your media assets. The metadata settings are user defined so you can catalog and search for assets in the way that works best with your workflow. Designed for both standalone and networked operation, CatDV is flexible to fit your budget and needs. CatDV is available for Mac and Windows, allowing you to work seamlessly across both environments.


  • Log: ingest media from tape or disk; enable sub-clipping and tagging
  • Transcode: automatically build offline proxies or web versions of online media
  • Database: browse, search and filter assets
  • Communicate: loggers, producers and editors work together effectively and efficiently

…continue reading Cover Your Assets: Media Management and Archiving

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