{"product_id":"aja-fs-hdr-r0","title":"AJA FS-HDR-R0","description":"\u003cp\u003e\u003cstrong\u003eOverview\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFS-HDR is a powerful universal converter\/frame synchronizer designed specifically to meet the High Dynamic Range (HDR) and Wide Color Gamut (WCG) needs of broadcast, OTT, production, post, and live event AV environments, where real time, low latency processing and color fidelity is required for 4K\/UltraHD and 2K\/HD workflows. Developed in partnership with Colorfront, the FS-HDR’s HDR\/WCG functionality is powered by the Colorfront Engine™ proprietary video processing algorithms.\u003cbr\u003e\u003cbr\u003eIn Single Channel Mode, FS-HDR also serves as a full, 1-channel up, down, and cross-converter for up to 4K\/UltraHD HDR\/WCG transformations. In Four Channel Mode, FS-HDR offers four independent channels of 2K\/HD HDR\/WCG transformations, with both modes providing up, down, and cross conversions, and high quality frame syncing, all in a slim, 1RU rackmount form factor.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eColorfront Engine™\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMaintaining Perceptual Integrity\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFS-HDR’s HDR\/WCG capabilities leverage video and color space processing algorithms within the Colorfront Engine, specially licensed by AJA from Colorfront and developed by Colorfront’s CTO Bill Feightner and Lead Engineer Tamas Perlaki.\u003c\/p\u003e\n\u003cp\u003ePowered by the Colorfront Engine, FS-HDR’s extensive HDR and WCG processing support enables real time processing of a single channel of 4K\/UltraHD\/2K\/HD, including down-conversion to HD HDR or up to four channels of 2K\/HD simultaneously. FS-HDR also enables the conversion of popular camera formats from multiple vendors into the HDR space, plus conversion to and from BT.2020\/BT.709 as needed, critical for the widespread acceptance of HDR alongside SDR in broadcast and OTT workflows. TV Mode and Live Mode are also offered in AJA’s ColorBox.\u003c\/p\u003e\n\u003cp\u003eColorfront Engine TV Mode provides specific conversions and simplified controls for highlight and roll-off management in live television broadcast productions.\u003c\/p\u003e\n\u003cp\u003eColorfront Engine Live Mode provides conversions and controls that support live applications such as broadcast, OTT, A\/V, and venue.\u003c\/p\u003e\n\u003cp\u003eColorfront Engine Film Mode provides conversions and controls, including ASC CDL, for applications such as on-set camera preview and look creation.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFS-HDR Colorfront Engine TV Mode\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTV Mode is an operational mode that provides a simple to use transform selection interface with minimal controls required for a live television production. It addresses color correction and camera correction while introducing new controls essential for HDR\/SDR transforms, including Sony S-Log3. These new controls for Brightness, Highlight, Super Highlight, and Colorfulness are designed to enable operators to produce high quality SDR and HDR video by processing within the guardrails of Colorfront’s perceptual processing algorithm, which will maintain perceived color, hue, and saturation without hard clipping artifacts and maintaining proper color relationships. These controls help manage highlights and roll-off in HDR to SDR conversions. They also improve the quality of the SDR output by using more of the information available in the HDR source. Shouldn’t your SDR deliverable benefit from all the effort put into your HDR production?\u003c\/p\u003e\n\u003cp\u003eThe Colorfront Engine uses conversion algorithms based on the human visual system that provide better SDR to HDR color transformation, as well as improving the overall look of SDR sources used in your HDR production. To protect and maintain color fidelity of SDR brand colors used in graphics or in-camera, the combination of SDR to HLG and HLG to SDR transforms using the Colorfront Engine TV Mode provides the necessary “round-tripping” capabilities.\u003c\/p\u003e\n\u003cp\u003eA perceptual transform integrates the various human perceptual phenomena into a model or perceptually linear transform space. Unique to the FS-HDR Colorfront Engine TV Mode, transforms are calculated in this perceptual space. Dynamic range, surround illumination, color volume, perceived saturation, and perceived hue are accounted for.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConfigurable Frame Delay\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAs sports fans have come to expect a more dynamic, interactive experience, augmented reality (AR) is quickly becoming a common and valuable production asset, but one that requires additional video processing time. For seamless integration of AR into live productions, larger frame buffering capacities are required to delay other sources.\u003c\/p\u003e\n\u003cp\u003eFS-HDR offers the largest configurable frame delay in its class of up to 20 frames per channel, ensuring all sources stay in time.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFeatures\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv id=\"feature_block_content_2263\" class=\"feature-content\"\u003e\n\u003cul\u003e\n\u003cli\u003eHDR to HDR, SDR to HDR and HDR to SDR conversions for Dynamic Range and Wide Color Gamut needs.\u003c\/li\u003e\n\u003cli\u003eSupport for two Operational Modes:\n\u003cul\u003e\n\u003cli\u003eSingle Channel Mode for 4K\/UltraHD or 2K\/HD frame sync and conversion including HDR conversions\n\u003cul\u003e\n\u003cli\u003e4K\/UltraHD\/2K\/HD\/SD video processing and up, down, cross-conversion\u003c\/li\u003e\n\u003cli\u003eA full range of I\/O options for 4K\/UltraHD including Quad 1.5G; Dual 3G; and Quad 3G, 6G and 12G over a range of Coax and optional Fiber choices\u003c\/li\u003e\n\u003cli\u003eEnhanced Single Channel Mode offers the ability to simultaneously output 4K\/UltraHD and 2K\/HD with their own independent HDR transform settings for convenient Single Master HDR workflows.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eFour Channel Mode for simultaneous independent 2K\/HD\/SD frame sync and conversion including HDR conversions\n\u003cul\u003e\n\u003cli\u003e2K\/HD\/SD up, down, cross-conversion\u003c\/li\u003e\n\u003cli\u003eSD\/SD aspect ratio conversion\u003c\/li\u003e\n\u003cli\u003eHD\/HD cross-conversion (720p\/1080i)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eEach processing channel can independently select from:\n\u003cul\u003e\n\u003cli\u003eColorfront Engine TV Mode\u003c\/li\u003e\n\u003cli\u003eColorfront Engine Live Mode\u003c\/li\u003e\n\u003cli\u003eColorfront Engine Film Mode\u003c\/li\u003e\n\u003cli\u003eBBC HLG LUT Mode\u003c\/li\u003e\n\u003cli\u003eNBCU LUT Mode\u003c\/li\u003e\n\u003cli\u003eUser LUT Mode\u003c\/li\u003e\n\u003cli\u003eDynamic LUT Mode\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e33-point Tetrahedral 3D LUT Processor supporting:\n\u003cul\u003e\n\u003cli\u003eBuilt-in BBC HLG 3D LUTs\u003c\/li\u003e\n\u003cli\u003eBuilt-in NBCU 3D LUTs\u003c\/li\u003e\n\u003cli\u003eUser 3D LUTs\u003c\/li\u003e\n\u003cli\u003eDynamic 3D LUTs through third party applications\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eWidely interoperable with 4K\/UltraHD\/2K\/HD raster support, SQD and 2SI mapping conversion, P, PsF and Interlace support\u003c\/li\u003e\n\u003cli\u003eConfigurable HDR settings for SDI output VPID\u003c\/li\u003e\n\u003cli\u003eHDR Color Bar Test Patterns\u003c\/li\u003e\n\u003cli\u003eHDMI HDR Infoframe generation to support HDR displays per HDMI v2.0b\/CTA-861-G for any 2K\/HD HDMI output format and 2K\/HD output down-scaled from 4K\/UltraHD\u003c\/li\u003e\n\u003cli\u003eRegion of Interest scaling\u003c\/li\u003e\n\u003cli\u003eMotion Adaptive Deinterlacer control\u003c\/li\u003e\n\u003cli\u003eChannel to Channel HFR Sync guarantees all channels in one or many frame synchronizers output video on the same field or frame\u003c\/li\u003e\n\u003cli\u003eAudio I\/O processing with a 277 x 208 matrix of audio possibilities; support for a flexible range of audio feeds from discrete AES to MADI and embedded SDI audio, with each audio input offering sample rate conversion\u003c\/li\u003e\n\u003cli\u003eSimple operation, a redesigned FS menu structure, and quick access to features via front panel buttons, as well as a web-based UI offering control over a LAN or across the web via a REST API\u003c\/li\u003e\n\u003cli\u003eA 1RU frame offering space, power, and cost efficiencies ideal for broadcast trucks, postproduction, or broadcast settings\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cdiv class=\"col-xs-12 col-md-6\"\u003e\n\u003cp id=\"feature_block_title_2266\" class=\"feature-title\"\u003e\u003cstrong\u003eParametric Controls for HDR Transforms and Color Correction\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv id=\"feature_block_content_2266\" class=\"feature-content\"\u003e\n\u003cp dir=\"ltr\"\u003eFS-HDR provides parametric controls for Colorfront Engine’s HDR transforms and color correction in Live, TV, and Film Modes. Each parametric control is accessible via FS-HDR’s front panel, the web GUI on any browser, or REST interface, and settings can be stored to a preset for recall later or copied to other FS-HDR units.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eColorfront Engine parametric controls offer the following and much more:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eTV Mode:\n\u003cul\u003e\n\u003cli\u003eHighlight and roll-off management with Brightness, Highlight, and Super Highlight\u003c\/li\u003e\n\u003cli\u003eColorfulness control for managing the Hunt Effect\u003c\/li\u003e\n\u003cli\u003eRound trip setting for ensuring a technical match during a round trip process\u003c\/li\u003e\n\u003cli\u003eAdjusting RGB and Master color controls for:\n\u003cul\u003e\n\u003cli\u003eLift, Gamma, and Gain\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eAdjusting for camera correction with Exposure, Color Temp, and Tint\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eLive Mode:\n\u003cul\u003e\n\u003cli\u003eHDR Log Look, SDR Softness, HDR Amount, Ambient Light Compensation, P3 Clamp\u003c\/li\u003e\n\u003cli\u003eAdjusting RGB, and Master color controls for:\n\u003cul\u003e\n\u003cli\u003eLift, Gamma, and Gain\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eAdjusting for camera correction with Exposure, Color Temp, and Tint\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eFilm Mode:\n\u003cul\u003e\n\u003cli\u003eGrading Color Spaces and Looks, HDR Amount Ambient Light Compensation, P3 Clamp\u003c\/li\u003e\n\u003cli\u003eAdjusting RGB, and Master color controls for:\n\u003cul\u003e\n\u003cli\u003eSlope, Power, and Offset\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eAdjusting for camera correction with Exposure, Color Temp, and Tint\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eAdjusting Saturation\u003c\/li\u003e\n\u003cli\u003eGuiding the algorithm’s color volume expansion from SDR to HDR\u003c\/li\u003e\n\u003cli\u003eAdjusting for the Ambient Light in the mastering or viewing environment\u003c\/li\u003e\n\u003cli\u003eManaging how SDR highlights and speculars are expanded into HDR\u003c\/li\u003e\n\u003cli\u003eControlling the overall look of camera log inputs between cinematic and television\u003c\/li\u003e\n\u003cli\u003eAdjusting for camera correction with Exposure, Color Temp, and Tint\u003c\/li\u003e\n\u003cli\u003ePQ Output Nit Level adjustment from 48 to 4000 Nit\u003c\/li\u003e\n\u003cli\u003eDCI P3 Color Space Clamp for PQ output\u003c\/li\u003e\n\u003cli\u003eSupport for ITU BT.2408, Operational Practices in HDR Television Production\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cdiv class=\"col-xs-12 col-md-6\"\u003e\n\u003cp id=\"feature_block_title_2269\" class=\"feature-title\"\u003e\u003cstrong\u003eReal Time Camera Log Conversions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv id=\"feature_block_content_2269\" class=\"feature-content\"\u003e\n\u003cp\u003eFS-HDR can take incoming imagery from some of the most popular professional cameras in the world today and convert their Log output in real time to 4K\/UltraHD or 2K\/HD and output as either HDR or SDR. This greatly simplifies workflows in a mixed camera environment and provides for a unified input workflow to HDR or SDR capable switchers and more. Additionally, FS-HDR provides the ability to convert to Sony S-Log3 S-Gamut on output from any of these sources for workflows requiring this Log feed to compatible switchers and more.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eSony S-Log3 S-Gamut3\u003c\/li\u003e\n\u003cli\u003eSony S-Log3 S-Gamut3 Cine\u003c\/li\u003e\n\u003cli\u003eSony S-Log3 BT.2020\u003c\/li\u003e\n\u003cli\u003eARRI Log C Wide Gamut\u003c\/li\u003e\n\u003cli\u003eARRI LogC4 Wide Gamut\u003c\/li\u003e\n\u003cli\u003ePanasonic Vlog\u003c\/li\u003e\n\u003cli\u003eRED Log3G10 Wide Gamut \u003c\/li\u003e\n\u003cli\u003eCanon Log2 \u003c\/li\u003e\n\u003cli\u003eCanon Log3\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cdiv class=\"col-xs-12 col-md-6\"\u003e\n\u003cp id=\"feature_block_title_2739\" class=\"feature-title\"\u003e\u003cstrong\u003eACES Support\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv id=\"feature_block_content_2739\" class=\"feature-content\"\u003e\n\u003cp dir=\"ltr\"\u003eThe Academy Color Encoding System (ACES) is an industry standard for managing color throughout a motion picture or television production life cycle. From capture through editing, VFX, mastering, public presentation, archiving, and future remastering, ACES ensures a consistent color experience that preserves the creative vision.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eFS-HDR offers an ACES Grading Color Space with ACEScct Input and Output Dynamic Ranges for real time integration with ACES workflows.\u003c\/p\u003e\n\u003cdiv class=\"col-xs-12 col-md-6\"\u003e\n\u003cp id=\"feature_block_title_2486\" class=\"feature-title\"\u003e\u003cstrong\u003e3D LUT Uploads and\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eDynamic LUT Support\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv id=\"feature_block_content_2486\" class=\"feature-content\"\u003e\n\u003cp\u003e3D LUTs place color and luma in a 3D space, a much more representative way of how color works in the real world and useful for capturing and relaying more complex color grades than 1D LUTs.\u003c\/p\u003e\n\u003cp\u003eFS-HDR supports uploads of user created 3D LUTs (33-point .cube format), with the ability to store and recall as needed through the FS-HDR's simple visual GUI. This is ideal for bringing a standard desired look to a production, applying a creative LUT previously designed for the sake of the project, or potentially loading a film emulation LUT for a particular look.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eUpload using web GUI \u003c\/li\u003e\n\u003cli\u003e33-point .cube format\u003c\/li\u003e\n\u003cli\u003eStore up to 10 LUTs\u003c\/li\u003e\n\u003cli\u003eUtilizes 33-point Tetrahedral 3D LUT Interpolation\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eSingle Channel Mode\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e4K\/UltraHD Conversion Power with simultaneous 2K\/HD outputs\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e4K\/UltraHD delivery, processing, and synchronization is fast becoming the next standard, and FS-HDR gets you there with a wealth of digital video connectivity, including Quad 1.5G, Dual 3G, Quad 3G with built-in BNC connectors, and 12G\/6G over optional 12G-SDI HD-BNC and 12G-SDI LC Fiber SFP modules.\u003c\/p\u003e\n\u003cp\u003eIn Single Channel Mode, FS-HDR will up-convert your HD or SD materials to 4K\/UltraHD or down-convert your 4K\/UltraHD to HD and supports a huge array of audio channels over Embedded SDI, AES, and MADI for an incredible 272x208 matrix of audio processing capabilities.\u003c\/p\u003e\n\u003cp\u003eEnhanced Single Channel Mode offers simultaneous 4K\/UltraHD and 2K\/HD outputs for Single Master HDR workflows. In this Mode, HDR processing can be performed on true 4K or UltraHD signals, and down-conversion with HDR processing is available for HD HDR or HD SDR needs via the SDI monitor output.\u003c\/p\u003e\n\u003cp\u003eThe channel’s color transform can be configured for Colorfront Engine TV Mode, Colorfront Engine Live Mode, Colorfront Engine Film Mode, BBC HLG 3D LUTs, NBCU 3D LUTs, User 3D LUTs, or Dynamic LUT Mode to accomplish the desired HDR transform.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFour Channel Mode\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMulti-Channel HD HDR Processing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn Four Channel Mode, FS-HDR provides incredibly powerful multi-channel conversion with up to four channels of simultaneous HDR processing for 2K\/HD and SD signals. Powerful conversion processing also allows Region of Interest (ROI) scaling, color correction, proc amp controls, motion adaptive deinterlacing, and much more.\u003c\/p\u003e\n\u003cp\u003eEach channel can be independently configured for Colorfront Engine TV Mode, Colorfront Engine Live Mode, Colorfront Engine Film Mode, BBC HLG 3D LUTs, NBCU 3D LUTs, User 3D LUTs, or Dynamic LUT Mode to accomplish the desired HDR transform.\u003c\/p\u003e\n\u003cp\u003eIn Four Channel Mode, you can also bring in a single HD source and process four separate outputs from it, each with its own HDR\/SDR transformations.\u003c\/p\u003e\n\u003cp\u003eMulti-channel density in a 1RU chassis conserves space, power, and weight.\u003c\/p\u003e\n\u003cp id=\"feature_block_title_2799\" class=\"feature-title\"\u003e\u003cstrong\u003eIncredible Digital Connectivity \u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv id=\"feature_block_content_2799\" class=\"feature-content\"\u003e\n\u003cp dir=\"ltr\"\u003eVideo and Audio deserve the connectivity and bandwidth required to meet the demands of your projects.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eFS-HDR utilizes standard BNC as well as optional SFP inputs and outputs to integrate easily into a variety of workflows and facilities with support for SDI workflows all the way up to 12G.  \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eFS-HDR has Coax and Fiber* inputs and outputs to accept 4K\/UltraHD\/2K\/HD\/SD resolution SDI signals in Single Channel Mode. In Four Channel Mode, 2K\/HD\/SD inputs can be routed to multiple locations simultaneously without the need for any external signal distribution.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eA looping Reference Input allows the FS-HDR to be locked to your house reference signal for rock solid stability.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eDigital Audio can be disembedded and embedded between SDI, MADI, and AES for an incredible array of routing possibilities.\u003c\/p\u003e\n\u003cdiv class=\"col-xs-12 col-md-6\"\u003e\n\u003cp id=\"feature_block_title_2985\" class=\"feature-title\"\u003e\u003cstrong\u003eUp, Down, Cross-Conversion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv id=\"feature_block_content_2985\" class=\"feature-content\"\u003e\n\u003cp\u003eMoving to 4K is never an instant change. Legacy signals and archival material need to be integrated into the 4K environment while 4K\/UltraHD sources need to be down-converted for current 2K\/HD pipelines.\u003c\/p\u003e\n\u003cp\u003eUtilizing AJA's remarkable conversion algorithms, FS-HDR supports up, down, cross-conversion from 2K\/HD\/SD to 4K or UltraHD video and back over 12G\/6G\/3G-SDI.  Both Square Division (SQD) and Two Sample Interleave (2SI) pixel mapping formats are supported.\u003c\/p\u003e\n\u003cp\u003eAJA's powerful hardware conversion technology ensures the highest image quality for your productions. Key conversion features include:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e4K\/UltraHD\/2K\/HD\/SD up, down-conversion\u003c\/li\u003e\n\u003cli\u003eSD\/SD aspect ratio conversion\u003c\/li\u003e\n\u003cli\u003eHD\/HD cross-conversion (720p\/1080i)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eAll done in beautiful 10-bit with dedicated hardware.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMassive Audio Flexibility\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe growth of 5.1 and 7.1 audio has increased the number of audio channels that must be managed in a production. The MADI standard provides a convenient way to transport huge numbers of audio channels along a single cable, simplifying the cabling demands for broadcasters, mobile trucks and production. FS-HDR supports both fiber and coax MADI input and output. An internal 277x208 mono audio matrix allows you to route 1 to 1, or 1 to many, with full routing of MADI, mixdowns, and all audio coming from SDI, fiber, and AES sources for an incredible amount of audio processing capability in a single box.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClosed Captioning Conversion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFS-HDR supports Closed Captioning and the conversion of Closed Captioning between 2K\/HD\/SD and 4K\/UltraHD formats - including full conversion of CEA-608 and CEA-708 standards. FS-HDR can preserve Closed Captioning even when converting between formats, removing the need to reinsert Closed Captioning after conversion.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eActive Format Description\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAutomatically sets Active Format Description information to match the converted signal. This means AFD information does not have to be inserted after conversion and provides accurate information for devices that understand AFD.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpecifications\u003c\/strong\u003e\u003c\/p\u003e\n\u003cstrong\u003eHDR\/WCG Real Time Processor\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cul\u003e\n\u003cli\u003eHDR Conversions\n\u003cul\u003e\n\u003cli\u003eHDR to HDR\u003c\/li\u003e\n\u003cli\u003eHDR to SDR\u003c\/li\u003e\n\u003cli\u003eSDR to HDR\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eColorimetry\n\u003cul\u003e\n\u003cli\u003eBT.709 and BT.2020\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003cstrong\u003eVideo Processing Transforms\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cul\u003e\n\u003cli\u003eEach processing channel can independently select from:\n\u003cul\u003e\n\u003cli\u003eColorfront Engine - TV Mode\u003c\/li\u003e\n\u003cli\u003eColorfront Engine - Live Mode\u003c\/li\u003e\n\u003cli\u003eColorfront Engine - Film Mode\u003c\/li\u003e\n\u003cli\u003eBBC HLG 3D LUTs\u003c\/li\u003e\n\u003cli\u003eNBCU 3D LUTs\u003c\/li\u003e\n\u003cli\u003eUser 3D LUTs\u003c\/li\u003e\n\u003cli\u003eDynamic 3D LUTs\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003cstrong\u003eColorfront Engine (CFE) Advanced HDR Conversions\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cul\u003e\n\u003cli\u003eProcessing Based on Human Perception Model\u003c\/li\u003e\n\u003cli\u003ePerceptually optimized color volume remapping \u003c\/li\u003e\n\u003cli\u003ePreserves the original creative intent\u003c\/li\u003e\n\u003cli\u003eParametric controls including HDR functions and color corrector\u003c\/li\u003e\n\u003cli\u003eTV Mode for applications such as television broadcast\u003c\/li\u003e\n\u003cli\u003eLive Mode for applications such as broadcast, OTT, A\/V\u003c\/li\u003e\n\u003cli\u003eFilm Mode for applications such as on-set camera preview and look creation\u003c\/li\u003e\n\u003cli\u003eInput Video Dynamic Range\/Color Gamut\n\u003cul\u003e\n\u003cli\u003eSDR BT.709 100 Nits\u003c\/li\u003e\n\u003cli\u003eSDR Extended BT.709\u003c\/li\u003e\n\u003cli\u003ePQ BT.2020 1000 Nits\u003c\/li\u003e\n\u003cli\u003ePQ P3D65 1000 Nits\u003c\/li\u003e\n\u003cli\u003eHybrid Log Gamma BT.2100\u003c\/li\u003e\n\u003cli\u003eHLG Extended BT.709\u003c\/li\u003e\n\u003cli\u003eHLG Extended BT.2100\u003c\/li\u003e\n\u003cli\u003eSony S-Log3 S-Gamut3\u003c\/li\u003e\n\u003cli\u003eSony S-Log3 S-Gamut3 Cine \u003c\/li\u003e\n\u003cli\u003eSony S-Log3 BT.2020\u003c\/li\u003e\n\u003cli\u003eARRI Log C Wide Gamut\u003c\/li\u003e\n\u003cli\u003eARRI LogC4 Wide Gamut 4\u003c\/li\u003e\n\u003cli\u003ePanasonic V-log \u003c\/li\u003e\n\u003cli\u003eRED Log3G10 Wide Gamut \u003c\/li\u003e\n\u003cli\u003eCanon Log 2 \u003c\/li\u003e\n\u003cli\u003eCanon Log 3\u003c\/li\u003e\n\u003cli\u003eACEScct (Film mode only)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eOutput Video Dynamic Range\/Color Gamut\n\u003cul\u003e\n\u003cli\u003eSDR BT.709 100 Nits\u003c\/li\u003e\n\u003cli\u003eSDR Extended BT.709\u003c\/li\u003e\n\u003cli\u003ePQ BT.2020 1000 Nits\u003c\/li\u003e\n\u003cli\u003ePQ BT.2020 ConstrainP3\u003c\/li\u003e\n\u003cli\u003ePQ P3D65 1000 Nits\u003c\/li\u003e\n\u003cli\u003eHybrid Log Gamma BT.2100\u003c\/li\u003e\n\u003cli\u003eHLG Extended BT.709\u003c\/li\u003e\n\u003cli\u003eHLG Extended BT.2100\u003c\/li\u003e\n\u003cli\u003eSony S-Log3 S-Gamut3\u003c\/li\u003e\n\u003cli\u003eSony S-Log3 BT.2020\u003c\/li\u003e\n\u003cli\u003eARRI Log C Wide Gamut\u003c\/li\u003e\n\u003cli\u003eARRI LogC4 Wide Gamut 4\u003c\/li\u003e\n\u003cli\u003eACEScct (Film mode only)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eSDR Preview mode\u003c\/li\u003e\n\u003cli\u003eAmbient Light Compensation control\u003c\/li\u003e\n\u003cli\u003ePQ Output Nit level: 48-4000 Nit\u003c\/li\u003e\n\u003cli\u003ePQ Output P3 Colorspace Clamp\u003c\/li\u003e\n\u003cli\u003eExposure, Color Temp, Tint controls\u003c\/li\u003e\n\u003cli\u003eTV Mode controls\n\u003cul\u003e\n\u003cli\u003eHighlight management: Brightness, Highlight, Super Highlight\u003c\/li\u003e\n\u003cli\u003eColor Correction: Lift, Gamma, Gain, Saturation\u003c\/li\u003e\n\u003cli\u003eCamera Correction: Exposure, Color Temp, Tint\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eLive Mode controls\n\u003cul\u003e\n\u003cli\u003eGrading: Lift, Gamma, Gain,\u003c\/li\u003e\n\u003cli\u003eSDR Softness control\u003c\/li\u003e\n\u003cli\u003eITU-R BT.2408 control\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eFilm Mode controls\n\u003cul\u003e\n\u003cli\u003eGrading space: LogC, ACEScct, or S-Log3\u003c\/li\u003e\n\u003cli\u003eACES CDL: Offset, Power, Slope, Saturation     \u003c\/li\u003e\n\u003cli\u003eA\/B Look Selection\u003c\/li\u003e\n\u003cli\u003eA\/B Look Mix\n\u003cul\u003e\n\u003cli\u003eMasterLook\u003c\/li\u003e\n\u003cli\u003eMasterBroadcast\u003c\/li\u003e\n\u003cli\u003eMasterLookBright\u003c\/li\u003e\n\u003cli\u003eMasterLookCool\u003c\/li\u003e\n\u003cli\u003eMasterLookLowCon\u003c\/li\u003e\n\u003cli\u003eMasterLookSoftColor\u003c\/li\u003e\n\u003cli\u003eMasterLookVivid\u003c\/li\u003e\n\u003cli\u003eMasterLookWarm\u003c\/li\u003e\n\u003cli\u003e MasterPastelD60\u003c\/li\u003e\n\u003cli\u003eMasterPastelD65\u003c\/li\u003e\n\u003cli\u003eAgfa\u003c\/li\u003e\n\u003cli\u003eARRI K1S1\u003c\/li\u003e\n\u003cli\u003eBleach\u003c\/li\u003e\n\u003cli\u003eClassicFilm\u003c\/li\u003e\n\u003cli\u003eEktachrome\u003c\/li\u003e\n\u003cli\u003eFilmBlended\u003c\/li\u003e\n\u003cli\u003eFilmBlendedLoCon\u003c\/li\u003e\n\u003cli\u003eFujiDI\u003c\/li\u003e\n\u003cli\u003eFujiXD\u003c\/li\u003e\n\u003cli\u003eGenericFilm\u003c\/li\u003e\n\u003cli\u003eKodachrome\u003c\/li\u003e\n\u003cli\u003eReversalClassic\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003cstrong\u003eBBC HLG 3D LUT HDR Conversions\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cul\u003e\n\u003cli\u003eMathematical dynamic range mapping per ITU-R BT.2408\n\u003cul\u003e\n\u003cli\u003eSDR\/BT.709 Scene Referred to HLG\/BT.2100 v1.7\u003c\/li\u003e\n\u003cli\u003eSDR\/BT.709 Scene Referred to HLG\/BT.2100 Strict v1.7\u003c\/li\u003e\n\u003cli\u003eSDR\/BT.709 Scene Referred UpMap to HLG\/BT.2100 v1.7\u003c\/li\u003e\n\u003cli\u003eSDR\/BT.709 Scene Referred UpMap to HLG\/BT.2100 Strict v1.7\u003c\/li\u003e\n\u003cli\u003eSDR\/BT.709 Display Referred to HLG\/BT.2100 v.1.7\u003c\/li\u003e\n\u003cli\u003eSDR\/BT.709 Display Referred UpMap to HLG\/BT.2100 v1.7\u003c\/li\u003e\n\u003cli\u003eSDR\/BT.2020 Display Referred to HLG\/BT.2100 v1.7\u003c\/li\u003e\n\u003cli\u003eSDR\/BT.2020 Display Referred UpMap to HLG\/BT.2100 v1.7\u003c\/li\u003e\n\u003cli\u003ePQ 1000 Nits Display Referred to HLG\/BT.2100 v1.7\u003c\/li\u003e\n\u003cli\u003ePQ 4000 Nits Display Referred to HLG\/BT.2100 v1.7\u003c\/li\u003e\n\u003cli\u003eS-Log3\/BT.2020 100% Scene Referred to HLG\/BT.2100 v1.7\u003c\/li\u003e\n\u003cli\u003eS-Log3\/BT.2020 200% Scene Referred(SR-Live) to HLG\/BT.2100 v1.7\u003c\/li\u003e\n\u003cli\u003eHLG\/BT.2100 to SDR\/BT.709 Scene Referred v1.7\u003c\/li\u003e\n\u003cli\u003eHLG\/BT.2100 to SDR\/BT.709 Scene Referred Strict v1.7\u003c\/li\u003e\n\u003cli\u003eHLG\/BT.2100 to SDR\/BT.709 Display Referred Color Appearance Model v1.7\u003c\/li\u003e\n\u003cli\u003eHLG\/BT.2100 to SDR\/BT.709 Display Referred Super White v1.7\u003c\/li\u003e\n\u003cli\u003eHLG\/BT.2100 to PQ 1000 Nits Display Referred v1.7\u003c\/li\u003e\n\u003cli\u003eHLG\/BT.2100 to SDR\/BT.2020 Display Referred Super White v1.7\u003c\/li\u003e\n\u003cli\u003eSDR\/BT.709 Scene Referred UpMap to HLG\/BT.2100 to SDR\/BT.709 Display Referred v1.7\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003cstrong\u003eNBCU 3D LUT Processing\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cul\u003e\n\u003cli\u003eNBCU LUTs developed by NBCUniversal Media, LLC\n\u003cul\u003e\n\u003cli\u003e1-NBCU_SDR2HLG_DL_v1.1, SDR UpMap to HLG using Display Light v1.1\u003c\/li\u003e\n\u003cli\u003e2-NBCU_SDR2HLG_SL_v1, SDR to HLG using Scene Light v1.0\u003c\/li\u003e\n\u003cli\u003e3-NBCU_HLG2SDR_DL_v1.1, HLG to SDR using Display Light v1.1\u003c\/li\u003e\n\u003cli\u003e4-NBCU_SDR2PQ_DL_v1, SDR UpMap to PQ using Display Light v1.0\u003c\/li\u003e\n\u003cli\u003e5-NBCU_PQ2SDR_DL_v1, PQ to SDR using Display Light v1.0\u003c\/li\u003e\n\u003cli\u003e7-NBCU_HLG10002PQ_v1, HLG 1000 Nits to PQ v1.0\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003cstrong\u003eUser 3D LUT Processing\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cul\u003e\n\u003cli\u003eSupports custom 33 point .cube format 3D LUTs\u003c\/li\u003e\n\u003cli\u003eTetrahedral LUT interpolation\u003c\/li\u003e\n\u003cli\u003eConfigurable Colorspace, Scale, and HDR Transfer Characteristic \u003c\/li\u003e\n\u003cli\u003eNonvolatile storage of 10 fixed LUTs\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eDynamic 3D LUT Processing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eSupports third party apps for automatic loading and display of 3D LUTs \u003c\/li\u003e\n\u003cli\u003eReflects dynamic changes in real time from source software\u003c\/li\u003e\n\u003cli\u003eSupported by Pomfort Livegrade Pro\u003c\/li\u003e\n\u003cli\u003eSupported by TV Logic WonderLookPro\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eModes of Operation\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFour Channel Mode - Four Independent 2K, HD, or SD Video Processors\u003c\/li\u003e\n\u003cli\u003eSingle Channel Mode - One 4K, UltraHD, 2K, HD, or SD Video Processor\u003c\/li\u003e\n\u003cli\u003eEnhanced Single Channel Mode - One 4K, UltraHD Video Processor with simultaneous 4K\/UltraHD and 2K\/HD\/SD outputs\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eVideo Formats\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e(4K) 4096x2160p 23.98, 24, 25, 29.97, 30, 50, 59.94, 60\u003c\/li\u003e\n\u003cli\u003e(4K) 4096x2160PsF 23.98, 24, 25, 29.97, 30\u003c\/li\u003e\n\u003cli\u003e(UltraHD) 3840x2160p 23.98, 24, 25, 29.97, 30, 50, 59.94, 60\u003c\/li\u003e\n\u003cli\u003e(UltraHD) 3840x2160PsF 23.98, 24, 25, 29.97, 30\u003c\/li\u003e\n\u003cli\u003e(2K) 2048x1080p 23.98, 24, 25, 29.97, 30, 50, 59.94, 60\u003c\/li\u003e\n\u003cli\u003e(HD) 1920x1080p 23.98, 24, 25, 29.97, 30, 50, 59.94, 60\u003c\/li\u003e\n\u003cli\u003e(HD) 1920x1080PsF 23.98, 24, 25, 29.97, 30\u003c\/li\u003e\n\u003cli\u003e(HD) 1920x1080i 50, 59.94, 60\u003c\/li\u003e\n\u003cli\u003e(HD) 1280x720p 50, 59.94, 60 \u003c\/li\u003e\n\u003cli\u003e(SD) 625i 50\u003c\/li\u003e\n\u003cli\u003e(SD) 525i 59.94\u003c\/li\u003e\n\u003cli\u003eYCbCr, 4:2:2, 10-bit\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eVideo Input Digital\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e4x 3G-SDI inputs, 4x BNC\u003c\/li\u003e\n\u003cli\u003e4x 12G-SDI inputs, 4x Fiber or HD-BNC (optional SFP modules)\n\u003cul\u003e\n\u003cli\u003eSFP coax module, 12G\/6G-SDI, dual HD-BNC\u003c\/li\u003e\n\u003cli\u003eSFP fiber module, 12G\/6G-SDI, Single Mode, dual LC or single LC, SMPTE 297\u003c\/li\u003e\n\u003cli\u003eSFP fiber module, 3G-SDI, Single Mode, dual LC, single LC, or single SC, SMPTE 297\u003c\/li\u003e\n\u003cli\u003eSFP fiber module, 3G-SDI, Multi-Mode, dual LC or single LC, SMPTE 297\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e12G\/6G\/3G\/HD\/SD, SMPTE 259\/292\/424\/2081\/2082\n\u003cul\u003e\n\u003cli\u003eSingle Link 12G\/6G-SDI (with optional SFP module)\u003c\/li\u003e\n\u003cli\u003eQuad Link 3G-SDI Level A or B DL (4x 3G), SMPTE 425-5\u003c\/li\u003e\n\u003cli\u003eDual Link 3G-SDI Level B DS (2x 3G), SMPTE 425-3\u003c\/li\u003e\n\u003cli\u003eSingle Link 3G-SDI Level A, B DL, or B DS, SMPTE 425\u003c\/li\u003e\n\u003cli\u003eQuad Link HD-SDI (4x 1.5G)\u003c\/li\u003e\n\u003cli\u003eDual Link HD-SDI (2x 1.5G), SMPTE 372\u003c\/li\u003e\n\u003cli\u003eSingle Link HD\/SD\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eQuadrant (Square Division) or 2SI (Two Sample Interleave) 4K\/UltraHD input pixel mapping\u003c\/li\u003e\n\u003cli\u003e8x 1 selector feeds video processor(s)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eVideo Output Digital\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e4x 3G-SDI outputs, 4x BNC\u003c\/li\u003e\n\u003cli\u003e4x 12G-SDI outputs, 4x fiber or HD-BNC (optional SFP modules)\n\u003cul\u003e\n\u003cli\u003eSFP coax module, 12G\/6G-SDI, dual HD-BNC\u003c\/li\u003e\n\u003cli\u003eSFP fiber module, 12G\/6G-SDI, Single Mode, dual LC or single LC, SMPTE 297\u003c\/li\u003e\n\u003cli\u003eSFP fiber module, 3G-SDI, Single Mode, dual LC, single LC, or single SC, SMPTE 297\u003c\/li\u003e\n\u003cli\u003eSFP fiber module, 3G-SDI, Single Mode, dual LC, SMPTE 297 \u003c\/li\u003e\n\u003cli\u003eSFP fiber module, 3G-SDI, Multi-Mode, dual LC or single LC, SMPTE 297\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e12G\/6G\/3G\/HD\/SD, SMPTE 259\/292\/424\/2081\/2082\n\u003cul\u003e\n\u003cli\u003eSingle Link 12G\/6G-SDI (with optional SFP module)\u003c\/li\u003e\n\u003cli\u003eQuad Link 3G-SDI Level A or B DL (4x 3G), SMPTE 425-5\u003c\/li\u003e\n\u003cli\u003eDual Link 3G-SDI Level B DS (2x 3G), SMPTE 425-3\u003c\/li\u003e\n\u003cli\u003eSingle Link 3G-SDI Level A, B DL, or B DS, SMPTE 425\u003c\/li\u003e\n\u003cli\u003eQuad Link HD-SDI (4x 1.5G)\u003c\/li\u003e\n\u003cli\u003eDual Link HD-SDI (2x 1.5G), SMPTE 372\u003c\/li\u003e\n\u003cli\u003eSingle Link HD\/SD\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eQuadrant (Square Division) or 2SI (Two Sample Interleave) 4K\/UltraHD output pixel mapping\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eMonitor Output Digital\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMonitor Output is a copy of the Main Output\u003c\/li\u003e\n\u003cli\u003e1x BNC, 1x 3G-SDI output \n\u003cul\u003e\n\u003cli\u003e3G-SDI\/HD\/SD, SMPTE 259\/292\/424, 10-bits\u003c\/li\u003e\n\u003cli\u003e4K\/UltraHD automatically down-converted to 2K\/HD\u003c\/li\u003e\n\u003cli\u003eSDI Monitor Output is configurable when FS-HDR is operating in Enhanced Single Channel Mode\n\u003cul\u003e\n\u003cli\u003eVideo Formats\n\u003cul\u003e\n\u003cli\u003e(2K) 2048x1080p 23.98, 24, 25, 29.97, 30, 50, 59.94, 60\u003c\/li\u003e\n\u003cli\u003e(HD) 1920x1080p 23.98, 24, 25, 29.97, 30, 50, 59.94, 60\u003c\/li\u003e\n\u003cli\u003e(HD) 1920x1080PsF 23.98, 24, 25, 29.97, 30\u003c\/li\u003e\n\u003cli\u003e(HD) 1920x1080i 50, 59.94, 60\u003c\/li\u003e\n\u003cli\u003e(HD) 1280x720p 50, 59.94, 60 \u003c\/li\u003e\n\u003cli\u003e(SD) 625i 50\u003c\/li\u003e\n\u003cli\u003e(SD) 525i 59.94\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eTransforms\n\u003cul\u003e\n\u003cli\u003eColorfront Engine - TV Mode, select from 4\/5 Dynamic Range \u0026amp; Gamut input\/output settings\u003c\/li\u003e\n\u003cli\u003eColorfront Engine - Live Mode, select from 16\/11 Dynamic Range \u0026amp; Gamut input\/output settings\u003c\/li\u003e\n\u003cli\u003eColorfront Engine - Film Mode, select from 17\/12 Dynamic Range \u0026amp; Gamut input\/output settings\u003c\/li\u003e\n\u003cli\u003eBBC HLG LUTs, select from 19 LUTs\u003c\/li\u003e\n\u003cli\u003eNBCU LUTs, select from 6 LUTs\u003c\/li\u003e\n\u003cli\u003eUSER LUTs, select from 10 LUTs\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e1x HDMI, 1x HD output\n\u003cul\u003e\n\u003cli\u003e2K\/HD\/SD, HDMI v1.4a\u003c\/li\u003e\n\u003cli\u003e4K\/UltraHD automatically down-converted to 2K\/HD\u003c\/li\u003e\n\u003cli\u003eHDR Infoframe generation to support HDR displays per HDMI v2.0b and CTA-861-G\u003c\/li\u003e\n\u003cli\u003eCrop control \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eVideo Processing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMotion adaptive deinterlacer, controllable\u003c\/li\u003e\n\u003cli\u003eProc amp controls\u003c\/li\u003e\n\u003cli\u003eColor corrector\u003c\/li\u003e\n\u003cli\u003eLegalizer\u003c\/li\u003e\n\u003cli\u003eFrame rate conversion\/film cadence removal\/insertion (3:2, 1:2, 2:1, 2:3)\u003c\/li\u003e\n\u003cli\u003eAdjustable delay 0-20 frames with H and V timing controls in lines and pixels\u003c\/li\u003e\n\u003cli\u003eFreeze (manual or on input signal loss) to black or last good frame\u003c\/li\u003e\n\u003cli\u003eMatte generator for background fill\u003c\/li\u003e\n\u003cli\u003eVideo test generator with SDR and HDR patterns\u003c\/li\u003e\n\u003cli\u003eNominal video delay HD\/SD, 2 frames (LFR), 4 frames (HFR)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eAncillary Data\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eAll embedded ANC packets pass-through when output format equals input format\u003c\/li\u003e\n\u003cli\u003eAncillary Timecode (LTC, VITC1, VITC2) translation and pass-through for wide range of conversions\u003c\/li\u003e\n\u003cli\u003eSCTE-104 and Closed Captioning pass-through for wide range of conversions\u003c\/li\u003e\n\u003cli\u003eClosed Captioning conversion (CEA-608\/CEA-708)\u003c\/li\u003e\n\u003cli\u003eAFD input detection, down-convert control, and output pass-through or overwrite\u003c\/li\u003e\n\u003cli\u003eConfigurable SDI output VPID for Colorimetry and Transfer Characteristic\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eFormat Conversion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eConvert any supported input format to any supported output format, within the same frame rate family. These three families are:\n\u003cul\u003e\n\u003cli\u003e59.94, 29.97, 23.98\u003c\/li\u003e\n\u003cli\u003e50, 25\u003c\/li\u003e\n\u003cli\u003e60, 30, 24\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eScaling\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eSupported in 2K\/HD\/SD formats\n\u003cul\u003e\n\u003cli\u003eZoom in and out\u003c\/li\u003e\n\u003cli\u003eReposition\u003c\/li\u003e\n\u003cli\u003eRegion of Interest (ROI)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eUp-Conversion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eHardware 10-bit\u003c\/li\u003e\n\u003cli\u003eZoom 14:9: results in a 4:3 image zoomed slightly to fill a 14:9 image with black side bars\u003c\/li\u003e\n\u003cli\u003eZoom Letterbox: results in image zoomed to fill fullscreen\u003c\/li\u003e\n\u003cli\u003eZoom Wide: results in a combination of zoom and horizontal stretch to fill a 16:9 screen; this setting will introduce a small aspect ratio change\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eDown-Conversion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eHardware 10-bit\u003c\/li\u003e\n\u003cli\u003eAnamorphic: fullscreen\u003c\/li\u003e\n\u003cli\u003eLetterbox: image is reduced with black top and bottom added to image area with the aspect ratio preserved\u003c\/li\u003e\n\u003cli\u003eCrop: image is cropped to fit video output format\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eAspect Ratio Conversion for SD to SD\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLetterbox: Transforms SD anamorphic material to a letterboxed image\u003c\/li\u003e\n\u003cli\u003eH Crop: Produces a horizontally stretched effect on the image; transforms anamorphic SD to full frame\u003c\/li\u003e\n\u003cli\u003eSD Pillarbox: Produces an image in the center of the screen with black borders on the left and right sides and an anamorphized image in the center\u003c\/li\u003e\n\u003cli\u003eV Crop: Transforms SD letterbox material to an anamorphic image\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eAudio Input Digital\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e48 kHz sample rate\u003c\/li\u003e\n\u003cli\u003e8x SDI embedded inputs (16-Channels each)\n\u003cul\u003e\n\u003cli\u003e128-channels, 24-bit (20-bit SD), SMPTE 272\/299\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e8x balanced AES inputs (16-Channels), 1x DB-25\n\u003cul\u003e\n\u003cli\u003e16-channels, 24-bit, AES-3\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e2x MADI inputs, 1 BNC, 1x ST Fiber\n\u003cul\u003e\n\u003cli\u003e128-channels, 24-bit, AES-10\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eAudio Output Digital\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e48 kHz sample rate\u003c\/li\u003e\n\u003cli\u003e1x SDI embedded output per Video Processor (16-Channels each)\n\u003cul\u003e\n\u003cli\u003e16-channels (in single Video Processor mode), 24-bit (20-bit SD), SMPTE 272\/299\u003c\/li\u003e\n\u003cli\u003e64-channels (in four Video Processor mode), 24-bit (20-bit SD), SMPTE 272\/299\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e8x balanced AES outputs (16-Channels), 1x DB-25\n\u003cul\u003e\n\u003cli\u003e16-channels, 24-bit, AES-3\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e2x MADI outputs, 1x BNC, 1x ST Fiber\n\u003cul\u003e\n\u003cli\u003e128-channels, 24-bit, AES-10\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eAudio Processing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e277x208 mono audio matrix, route 1 to 1, 1 to many\n\u003cul\u003e\n\u003cli\u003eInputs:  128 embedded, 16 AES, 128 MADI, 2 stereo mixdowns, 3 tone generator\u003c\/li\u003e\n\u003cli\u003eOutputs (Four Channel Mode): 16 AES, 128 MADI, 64 embedded\u003c\/li\u003e\n\u003cli\u003eOutputs (Single Channel Mode): 16 AES, 128 MADI, 16 embedded\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eInput adjustment controls for each channel\n\u003cul\u003e\n\u003cli\u003eGain +18 to -18 dB in 0.5 dB steps\u003c\/li\u003e\n\u003cli\u003ePhase invert\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eInput adjustment controls for each channel pair\n\u003cul\u003e\n\u003cli\u003eDelay -16ms to +1sec in 20.8 us steps\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eAudio delay can automatically follow video timing delay adjustments\u003c\/li\u003e\n\u003cli\u003eTwo independent 5.1 or 7.1 to stereo mixdown processors with gain adjust\u003c\/li\u003e\n\u003cli\u003eHigh quality Sample Rate Conversion supported on all audio inputs\u003c\/li\u003e\n\u003cli\u003eSRC bypass for non-PCM audio (e.g. Dolby E, AC-3, etc)\u003c\/li\u003e\n\u003cli\u003eAudio tone generator (mute, 400 Hz, 1 kHz)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eReference Input\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eExternal, 2x BNC\n\u003cul\u003e\n\u003cli\u003eLooping, nonterminating\u003c\/li\u003e\n\u003cli\u003eBlackburst or tri-level sync\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eGenlock\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLock to External Reference\u003c\/li\u003e\n\u003cli\u003eLock to SDI input 1 thru 8\u003c\/li\u003e\n\u003cli\u003eFree run based on Temperature Compensated Crystal Oscillator\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eNetwork Interface\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e1x RJ-45, 10\/100\/1000 Ethernet\u003c\/li\u003e\n\u003cli\u003eEmbedded web server for remote control\u003c\/li\u003e\n\u003cli\u003eREST Interface\u003c\/li\u003e\n\u003cli\u003eSNMP\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eUser Interface\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eDisplay\u003c\/li\u003e\n\u003cli\u003eKeypad with status LEDs\u003c\/li\u003e\n\u003cli\u003eTwo rotary\/push knobs\u003c\/li\u003e\n\u003cli\u003eComprehensive alarm indicators\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003ePresets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFour Channel and Single Channel Mode each support 40 system level Presets\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eGPI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e1x 25-pin D-Connector\n\u003cul\u003e\n\u003cli\u003eFour optically isolated GPI inputs\u003c\/li\u003e\n\u003cli\u003eFour optically isolated GPO outputs\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eSize (w x d x h)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e17.5” x 16.0” x 1.75” (1RU) (444.5 x 406.4 x 44.45 mm)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eWeight\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e7.9 lb (3.6 kg)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003ePower\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e100-240 VAC 50\/60 Hz (Dual, redundant power supplies), 55W typical; 70W max.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eEnvironment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eSafe Operating Temperature: 0 to 40 C (32 to 104 F)\u003c\/li\u003e\n\u003cli\u003eSafe Storage Temperature (Power OFF): -40 to 60 C (-40 to 140 F)\u003c\/li\u003e\n\u003cli\u003eOperating Relative Humidity: 10-90% noncondensing\u003c\/li\u003e\n\u003cli\u003eOperating Altitude: \u0026lt;3,000 meters (\u0026lt;10,000 feet)\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"AJA","offers":[{"title":"Default Title","offer_id":43886782709803,"sku":"AJA-FS-HDR-R0","price":8783.82,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0642\/3019\/5243\/files\/6433-fs_hdr_1440px__48679.1771338948.1280.1280.png?v=1775701605","url":"https:\/\/www.empirepro.com\/products\/aja-fs-hdr-r0","provider":"Empire Pro","version":"1.0","type":"link"}