Grand Vitesse Systems

XLC7 XLD7 4NXU 4SRP 2XR4 4XR8 2XR6 2XR2 8XLR 4XUD 4XR4 4XD2 4NR4 4NX4 2DR6 6AR2 xtrem live controle pro gvs9000 1xu nomadic 1u rugged rack play To Air Plugin solutions Configured for HD Mobile Satellite Truck On Location Uncompressed RAW 4K, 2K, 3D, 4:4:4, 4:2:2 Encoder, Capture, Edit, Store, and Broadcast Live for applications from Sports to Medical FlyPack is dynamic, high-impact, lightweight, and has the capability to deliver the most rugged and durable on road system possible. It is designed to ship anywhere in the world and arrives ready to plug in and go. GVS is introducing the FlyPack in less than 11U rack size. Even at this compact size, it's able to deliver all you need for your production to take place, including last minute changes. Fly Pack’s hot-swappable drives allow for editing to be done from anywhere and then returned to the field for project completion. The key components are designed from the ground up, taking into consideration every single necessary aspect of a road case. Listening to the needs of the clients we have worked with over the years, we have implemented the most crucial elements for an on-road product - compacting the most tools in the least amount of space without sacrificing the quality or ability to produce the best possible result out in the field.. The following are the main components of the FlyPack: Rugged Rack w/ air shock option Panoramic touch screen diplay HD SDI, SD SDI, NTSC/PAL LTC GVS9000 HD/SD-SDI 2K 4K capture, edit and playback Nomadic 1U 24 hr media with 12xHD SDI Recorders and Playback in single storage media Live Cast during capture or play back in Windows Media or QuickTime I/O interface for 4,8,12 or 24 HD SDI and SD video with 3D support Power Management for battery backup 12xGVCam HD SDI Camera Recording Complex FlyPack Configuration with a large number of displays and extended Fibre line with selective GVS partners offering world wide service and support 24/7

GVS9000 VTR offers the ultimate non-linear VTR uncompressed capture for HD, SD, and Dual Link HD bringing you incredible uncompressed video, 8-channel AES and embedded audio, up/down HD/SD format conversion, and HD/SD component analog output. You also get dual-monitor desktop viewing for no-holds-barred design and editing with support for Apple FinalCut Pro, AVID, Autodesk Smoke, Adobe Premiere Pro. Features hardware RAW Uncompressed and codec for the DVCProHD, ProRes, JPEG, MXF, IMX, AVI codec. as well as hardware codec for high quality at live xtrem 9000VTR is simply the highest quality, most flexible, low cost rugged design solution available. 9000VTR supports the highest quality possible with SDI video features both 10 and 12 bit 4:4:4 Dual Link HD-SDI. Extensive audio support makes installation easier than ever, with 8 channel AES audio via either XLR or BNC connections, or embedded audio. AES input sample rate conversion eliminates the requirement for audio source synchronization—and you will never hear a click or pop. Analog Video Output Versatility 9000VTR provides a 12 bit HD or SD component analog video output. In the SD mode, the analog output can be switched to Composite NTSC/PAL or S-Video. The analog video output is independently assignable—for example, when working with HD, the analog output can be switched to the downconverter, allowing for broadcast quality SD component or composite video output from HD material. Flexible I/O Options 9000VTR offers unsurpassed cable connectivity for a video/audio capture card. Two versions of the breakout cable are provided: one with XLR AES connections, and one with BNC AES connections. Simply plug in the desired cable—they automatically configure. For SDI video, the breakout cables have 2 HD/SD BNC Ins and 2 Outs for single or dual link, 1 BNC for Genlock input, and 3 BNCs for HD/SD component analog video out. Also included is a 9 pin D connector for RS-422 machine control. Since the ultimate capture card needs the ultimate breakout box, we also offer a number of options in this area. Hardware Acceleration FinalCut Pro Users will love ProRes HQ hardware acceleration. The hardware takes a portion of the ProRes HQ codec processing load off the hardware codec, allowing more Real Time effects in live edit function when outputting to HD-SDI. It also has hardware support when capturing from HD-SDI to the ProRes HQ for Proxy or edit codec, along with RAW Uncompressed and the ProRes codec bringing amazing Real-Time HD production power to the content Broadcast-Quality Conversion—Built-in! Features full 10-bit Broadcast quality motion adaptive SD to HD up-conversion, HD to SD down conversion, and automatic HD/SD 12 bit component analog output. Flexible I/O Options 2-14 SDI input (BNC) 2-28 SDI outputs (2x BNC, independent outputs) 2-14 Reference Input (BNC) 2-14 Component/Composite/S Video Input (3x BNC) 2-14 Component/Composite/S Video Output (3x BNC) 2-14 AES In (1x XLR) 2-14 AES Out (1x XLR) 8-56 Balanced Audio In (XLR) 8-56 Balanced Audio Out (XLR) 16-112 Inbeaded Audio Channnel 2-14 RS-422 Machine Control (9 pin D) 2-14 LTC In/Out w/Refrince Redudent Share Storage 1-7 Channel Slow-Mo Playback During Recording Uncompressed to 5mb/s per recording head option 1 Gigabit Interface for Mangment of all 14 channel 2-14 RS232 Remote Allows much higher quality picture with true CCD or CMOS from your digital camera. With either high end or low cost digital cameras all you need is the HD SDI interface directly from the camera to capture the best pixel to pixel quality. What you see is what you get. You no longer have to sacrifice speed and storage. Utilizing the industry standard disk, you can rest assured that all the media are in a duplicate and secure removable canister that can be switched out and a new 5 hours uncompressed cartridge loaded in less than a few minutes. With a TRUE HD SDI capture rate of 1.4Gbit/sec and 3.0Gbit/sec raw output direct from the camera to disk, pixel to pixel, without the need for using any compresstion or reducing the quality or the size, the GVS 9000VTR uses 9-pin support making it suitable for integration with most other 9000VTR to sync. GVS9000 HD eliminates the need to transfer source material onto tape, yet integrates with the HD/SD authoring system as easily as a HD tape devices. GVS9000 HD is also ideal as a non-linear playback machine in a tradition linear edit suite. Presentation and Video Wall GVS9000 HD is ideal for presentations, and installations. Once again, the ability to play industry standard QuickTime pictures, synchronized to Timecode, or under Jog/Shuttle user control, make 9000VTRs a valuable tool in many environments. Several 9000VTR systems can be used simultaneously in sync, for next generation multi-screen panoramic video walls, stereoscopic HD, Medical, Aerospace, Defense, Manfacturing, Scientific, Ocean Engineering, Environmental and other high quality media applications using a simple interface and easy management tools.

PROCESSES OF 9000VTR IN THE FIELD
The above ROI indicates the major benefits and associated profits with the GVS Metropolis Media Server workflow line.
Primarily through low maintenance and operational costs, along with the deliverance of maximum speed and throughput, substantial increases in productivity become reality in multiple production environments.


Having the ability to access to over 100-100,000 hours of footage information on a centralized high speed server with readily available SMPTE(Society of Motion Picture and Television Engineers), EDL, YUV component, SDI, MPEG, Audio, still, or Uncompressed source footage has now become a reality with the Metropolis Optical based Nomadic storage system.


The operator spends much less time looking for footage, with the simple "Command Find" function or Windows Based "Search (Browse) Network Volumes" operators can find the desired file within seconds at around 100-100,000 hours of footage information.
Queued projects disappear from the desktop machine in less than thirty seconds.
Today's technology offers a tremendous amount of options for field recording - from simple tape, which is more rare but still done, to a removable media like P2, compact flash, CF cards and many more, including acquisition of the content on portable drives. Moving the drives to production involves 6 steps which we have covered in the production area, so now we are going to focus on the advantages of having the Metropolis solution in a Flypack in the field, and the benefits that it delivers for field applications.
The workflow below shows the six step process that is involved in getting the content to production. While the steps are simple, at this point the process becomes extremely expensive if you try to increase the bandwidth requirement and the quality of the data that is being captured direct from the camera. It is common to maintain an MPEG compression which overcomes this tedious duplication process, but sacrifices quality.
The biggest benefit of utilizing the Metropolis workflow in field recording is the enormous cost savings. The same drives from the field are used for preview and playback and can be taken directly to post-production, removing the need for all the other steps and maintaining a much higher bandwidth. There is no more need for duplication, data transfer or additional drives.
The following are additional benefits of using Metropolis in FlyPack:

Once the content is recorded onto the Metropolis Media Server, the Flypack is then moved into the studio setting, where the editors of FCP, Avid or Adobe are ready to plug into their network. (Keep in mind the steps we have saved in the process by not having to move any of the footage from camera to another medium for post production)
Once the Flypack is brought into post, you simply connect the optical cable from the Flypack to the post fiber channel switch. When you power up you are able to access the media portion of the content and can begin working and editing directly from Metropolis media drive, the same media drive that you used initially to capture your content at best possible resolution that your camera can offer without any sacrifice in quality.
GVS offers the Nomadic 1U 12XPRO Optical media storage designed specifically to operate with low power consumption and noise reduction in order to make the product more suited for studio setting.
If post requires continuous editing, you simply remove the Nomadic Optical media drives and replace them with a new set. This is ideal for companies that are always on go, and require the ability to do constant filming.