{"product_id":"hdbnc-2rx-12g","title":"AJA HDBNC-2RX-12G 2-Channel 12G HD-BNC Coax RX (FS4, FS-HDR)","description":"\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.\u003c\/p\u003e\n\u003cp\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\u003cbr\u003e Maintaining Perceptual Integrity\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\u003cbr\u003e TV 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\u003eFS-HDR for Real Time HDR Workflows\u003c\/strong\u003e\u003cbr\u003e Deliver more immersive content to audiences with the power and flexibility of AJA FS-HDR. See how FS-HDR and the Colorfront Engine can simplify real time HDR\/WCG transformations and make it easy to maintain the look you’ve worked to achieve across SDR to HDR, HDR to HDR, and HDR to SDR for both 4K and HD needs.\u003c\/p\u003e\n\u003cp\u003eLearn about the device’s extensive capabilities, including extensive camera log translations and more.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReal Time HDR Converter\u003c\/strong\u003e\u003cbr\u003e The pursuit of High Dynamic Range (HDR) is the dream of getting closer to the Human Visual System (HVS) in all we experience as viewers. FS-HDR has been created to get us all there faster with a low profile, stand-alone device uniquely designed to bridge SDR to HDR, HDR to SDR, and HDR to HDR, all in real time.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHDR Conversions:\u003c\/strong\u003e • HDR to HDR\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eSDR to HDR\u003c\/li\u003e\n\u003cli\u003eHDR to SDR\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eWCG Conversions:\u003c\/strong\u003e • BT.709 and BT.2020\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eUp and Down Conversion examples:\u003c\/strong\u003e • Converting HD SDR BT.709 sources to UltraHD HDR BT.2020\u003c\/li\u003e\n\u003cli\u003eConverting UltraHD HDR BT.2020 sources to HD SDR BT.709 or HD HDR BT.2020\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eConfigurable Frame Delay\u003c\/strong\u003e\u003cbr\u003e As 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\u003eFS-HDR Key Features\u003c\/strong\u003e\u003c\/p\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: • Single Channel Mode for 4K\/UltraHD or 2K\/HD frame sync and conversion including HDR conversions • 4K\/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\u003cul\u003e\n\u003cli\u003eFour Channel Mode for simultaneous independent 2K\/HD\/SD frame sync and conversion including HDR conversions • 2K\/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\u003cul\u003e\n\u003cli\u003eEach processing channel can independently select from: • Colorfront 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\u003cul\u003e\n\u003cli\u003e33-point Tetrahedral 3D LUT Processor supporting: • Built-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\u003cul\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\u003cp\u003e\u003cstrong\u003eParametric Controls for HDR Transforms and Color Correction\u003c\/strong\u003e\u003cbr\u003e FS-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\u003eColorfront Engine parametric controls offer the following and much more: • TV Mode: • Highlight and roll-off management with Brightness, Highlight, and Super Highlight\u003c\/p\u003e\n\u003cul\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: • Lift, Gamma, and Gain\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e• Adjusting for camera correction with Exposure, Color Temp, and Tint\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLive Mode: • HDR Log Look, SDR Softness, HDR Amount, Ambient Light Compensation, P3 Clamp\u003c\/li\u003e\n\u003cli\u003eAdjusting RGB, and Master color controls for: • Lift, Gamma, and Gain\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eFilm Mode: • Grading Color Spaces and Looks, HDR Amount Ambient Light Compensation, P3 Clamp\u003c\/li\u003e\n\u003cli\u003eAdjusting RGB, and Master color controls for: • Slope, Power, and Offset\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\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\u003cp\u003e\u003cstrong\u003eReal Time Camera Log Conversions\u003c\/strong\u003e\u003cbr\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. • Sony S-Log3 S-Gamut3\u003c\/p\u003e\n\u003cul\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\u003cp\u003e\u003cstrong\u003eACES Support\u003c\/strong\u003e\u003cbr\u003e The 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\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\u003cp\u003e\u003cstrong\u003eLOOKs\u003c\/strong\u003e\u003cbr\u003eColorfront Engine in Film Mode offers built-in LOOK selection including film stock emulation and popular aesthetic looks, valuable tools for on-set and episodic production and you can even mix between any two for unique specific aesthetic needs: • LOOK • Look A or B Select • MasterLook\u003c\/p\u003e\n\u003cul\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\u003eMasterPastelD60\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\u003cp\u003e• A\/B Mix\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInputs: Dynamic Range\/Color Gamut\u003c\/strong\u003e\u003c\/p\u003e\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\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\u003c\/li\u003e\n\u003cli\u003e*Not all settings available in all modes\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eOutputs: Dynamic Range\/Color Gamut\u003c\/strong\u003e\u003c\/p\u003e\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 Constrained to P3\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\u003c\/li\u003e\n\u003cli\u003eACEScct\u003c\/li\u003e\n\u003cli\u003e*Not all settings available in all modes\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eBBC HLG LUTs Mode\u003c\/strong\u003e\u003cbr\u003eBBC HLG LUTs Mode offers additional functionality that adds HDR conversion options, particularly for television broadcasters who are looking for specific conversion criteria. • Supports mathematical HLG HDR dynamic range mapping per ITU BT.2408\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eScene-light and Display-light conversions\u003c\/li\u003e\n\u003cli\u003eSDR, PQ, and S-Log3 to HLG\u003c\/li\u003e\n\u003cli\u003eHLG to SDR and PQ\u003c\/li\u003e\n\u003cli\u003eUtilizes 33-point Tetrahedral 3D LUT Interpolation\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eBBC HLG LUT Conversions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eSDR Scene Referred (SR) to HLG\u003c\/li\u003e\n\u003cli\u003eSDR Scene Referred (SR) to HLG Strict\u003c\/li\u003e\n\u003cli\u003eSDR Scene Referred (SR) UpMap to HLG\u003c\/li\u003e\n\u003cli\u003eSDR Scene Referred (SR) UpMap to HLG Strict\u003c\/li\u003e\n\u003cli\u003eSDR Display Referred (DR) to HLG\u003c\/li\u003e\n\u003cli\u003eSDR Display Referred (DR) UpMap to HLG\u003c\/li\u003e\n\u003cli\u003eSDR BT.2020 Display Referred (DR) to HLG\u003c\/li\u003e\n\u003cli\u003eSDR BT.2020 Display Referred (SR) UpMap to HLG\u003c\/li\u003e\n\u003cli\u003ePQ 1000 Nits Display Referred (DR) to HLG\u003c\/li\u003e\n\u003cli\u003ePQ 4000 Nits Display Referred (DR) to HLG\u003c\/li\u003e\n\u003cli\u003eS-Log3 100% Scene Referred (SR) to HLG\u003c\/li\u003e\n\u003cli\u003eS-Log3 200% Scene Referred (SR Live) to HLG\u003c\/li\u003e\n\u003cli\u003eHLG to SDR Scene Referred (SR)\u003c\/li\u003e\n\u003cli\u003eHLG to SDR Scene Referred (SR) Strict\u003c\/li\u003e\n\u003cli\u003eHLG to SDR Display Referred (DR) Color Apperance Model (CAM)\u003c\/li\u003e\n\u003cli\u003eHLG to SDR Display Referred (DR) Super White\u003c\/li\u003e\n\u003cli\u003eHLG to PQ 1000 Nits Display Referred (DR)\u003c\/li\u003e\n\u003cli\u003eHLG to SDR BT.2020 Display Referred (DR) Super White\u003c\/li\u003e\n\u003cli\u003eSDR Scene Referred (SR) to HLG to SDR Display Referred (DR)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eSingle Master HDR Workflow Using BBC HLG LUTs\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDownload Workflow\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNBCU LUTs Mode\u003c\/strong\u003e\u003cbr\u003eNBCU LUTs, developed by NBCUniversal Media, LLC in collaboration with Cromorama, enable a workflow for single-master live production of simultaneous HDR and SDR content. Designed for television broadcasters, NBCU LUTs include SDR, HLG and PQ LUTs that maximize the dynamic range and color volume in HDR, without compromising core SDR broadcasts. • Imperceptible round-tripping of SDR BT.709\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eConversions designed with a knee that is natural with latitude for live video shading\u003c\/li\u003e\n\u003cli\u003eScene-light and Display-light conversions\u003c\/li\u003e\n\u003cli\u003eSDR, HLG, and PQ conversions\u003c\/li\u003e\n\u003cli\u003eUtilizes 33-point Tetrahedral 3D LUT Interpolation\u003c\/li\u003e\n\u003cli\u003eNBCU LUT Conversions • 1-NBCU_SDR2HLG_DL_v1.1, SDR UpMap to HLG using Display Light\u003c\/li\u003e\n\u003cli\u003e2-NBCU_SDR2HLG_SL_v1, SDR to HLG using Scene Light\u003c\/li\u003e\n\u003cli\u003e3-NBCU_HLG2SDR_DL_v1.1, HLG to SDR using Display Light\u003c\/li\u003e\n\u003cli\u003e4-NBCU_SDR2PQ_DL_v1, SDR UpMap to PQ using Display Light\u003c\/li\u003e\n\u003cli\u003e5-NBCU_PQ2SDR_DL_v1, PQ to SDR using Display Light\u003c\/li\u003e\n\u003cli\u003e7-NBCU_HLG10002PQ_v1, HLG 1000 Nits to PQ\u003c\/li\u003e\n\u003cli\u003eDownload Workflow\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e3D LUT Uploads and\nDynamic LUT Support\u003c\/strong\u003e\u003cbr\u003e 3D 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. • Upload using web GUI\u003c\/p\u003e\n\u003cul\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\u003e3D LUT Uploads and\nDynamic LUT Support\u003c\/strong\u003e\u003cbr\u003e FS-HDR also supports Dynamic LUT uploads from third party software for live playout, with the ability to see changes as you implement them.\u003c\/p\u003e\n\u003cp\u003eSingle Channel Dynamic LUTs support 4K resolutions while Four Channel Mode supports multi-channel HD workflows, with integration support for TVLogic WonderLookPro and Pomfort LiveGrade Pro grading software for continuous real time LUT updates.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFS-HDR and WonderLookPro\u003c\/strong\u003e\u003cbr\u003e Dynamic LUT support for both Single Channel and Multi-Channel workflows\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFS-HDR and LiveGrade Pro\u003c\/strong\u003e\u003cbr\u003e Dynamic LUT support for both Single Channel and Multi-Channel workflows\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSDR Preview Mode\u003c\/strong\u003e\u003cbr\u003e The Colorfront Engine SDR Preview Mode allows a user to quickly see what an HDR output will look like if it were converted to SDR by an FS-HDR. This is extremely useful in functions like camera shading, where the operator is making adjustments to an HDR camera while viewing the image on an HDR display. A key question is, \"What will this picture look like when down-converted to SDR?\" The FS-HDR's unique SDR Preview Mode provides a fast way to answer this question without requiring an HDR to SDR equipment chain or reconfiguring the existing HDR monitor.\u003c\/p\u003e\n\u003cp\u003eWhen SDR Preview is enabled, the Colorfront Engine maps the video into the currently selected HDR space (PQ or HLG), but with values that will exactly represent the SDR image. This eliminates the time normally required to change the output format to SDR and the wait for the display to reconfigure. By simply controlling the on\/off state of SDR Preview (from the front panel, Web GUI, or GPI), the operator can make quick, glitch free A\/B comparisons of the HDR and SDR images.\u003c\/p\u003e\n\u003cp\u003eDownload Workflow\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHDR Workflows for UltraHD and HD with FS-HDR\u003c\/strong\u003e\u003cbr\u003eFS-HDR opens a range of exciting possibilities for the integration of HDR within a range of workflows: • Converting from a house HDR standard to a delivery HDR standard.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eConverting from a camera OETF to a house HDR standard.\u003c\/li\u003e\n\u003cli\u003eConverting from HDR standard to SDR for delivery or monitoring.\u003c\/li\u003e\n\u003cli\u003eConverting SDR camera output to a house HDR standard.\u003c\/li\u003e\n\u003cli\u003eConverting SDR sources to HDR for integrating into an HDR program.\u003c\/li\u003e\n\u003cli\u003eConverting HD SDR BT.709 sources to UltraHD HDR BT.2020.\u003c\/li\u003e\n\u003cli\u003eConverting UltraHD HDR BT.2020 sources to HD SDR BT.709.\u003c\/li\u003e\n\u003cli\u003eConverting source inputs to Sony S-Log3 S-Gamut3.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eSingle Channel Mode\u003c\/strong\u003e\u003cbr\u003e 4K\/UltraHD Conversion Power with simultaneous 2K\/HD outputs\u003c\/p\u003e\n\u003cp\u003eDownload Workflow\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\u003cbr\u003e Multi-Channel HD HDR Processing\u003c\/p\u003e\n\u003cp\u003eDownload Workflow\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\u003e\u003cstrong\u003eIncredible Digital Connectivity\u003c\/strong\u003e\u003cbr\u003e Video and Audio deserve the connectivity and bandwidth required to meet the demands of your projects.\u003c\/p\u003e\n\u003cp\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\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\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\u003eDigital Audio can be disembedded and embedded between SDI, MADI, and AES for an incredible array of routing possibilities.\u003c\/p\u003e\n\u003cp\u003e* SFP inputs and outputs are optional.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUp, Down, Cross-Conversion\u003c\/strong\u003e\u003cbr\u003e Moving 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: • 4K\/UltraHD\/2K\/HD\/SD up, down-conversion\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eSD\/SD aspect ratio conversion\u003c\/li\u003e\n\u003cli\u003eHD\/HD cross-conversion (720p\/1080i)\u003c\/li\u003e\n\u003cli\u003eAll done in beautiful 10-bit with dedicated hardware.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003e12G\/6G HD-BNC and\nFiber SFP Options\u003c\/strong\u003e\u003cbr\u003e FS-HDR's SFP options include both 12G\/6G-SDI HD-BNC and Fiber LC I\/O options including single or dual channel and Single Mode or Multi-Mode options, allowing great SDI flexibility and fiber cable runs of up to 10 kilometers to be connected directly to the FS-HDR without the need for separate fiber to SDI conversion. Also available are 3G-SDI Fiber LC and SC SFP options.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOptional 12G\/6G-SDI SFPs:\u003c\/strong\u003e • \u003cstrong\u003eHDBNC-2TX-12G:\u003c\/strong\u003e 12G\/6G-SDI Dual Coax HD-BNC Transmitter\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eHDBNC-2RX-12G:\u003c\/strong\u003e 12G\/6G-SDI Dual Coax HD-BNC Receiver\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFIBERLC-1TX-12G:\u003c\/strong\u003e 12G-SDI Single Fiber LC Transmitter Single Mode\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFIBERLC-1RX-12G:\u003c\/strong\u003e 12G-SDI Single Fiber LC Receiver Single Mode\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFIBERLC-2TX-12G:\u003c\/strong\u003e12G\/6G-SDI Dual Fiber LC Transmitter Single Mode\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFIBERLC-2RX-12G:\u003c\/strong\u003e 12G\/6G-SDI Dual Fiber LC Receiver Single Mode\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOptional 3G-SDI Single Mode SFPs:\u003c\/strong\u003e • \u003cstrong\u003eFIBERSC-1-TX:\u003c\/strong\u003e 3G-SDI Single Fiber SC Transmitter Single Mode\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFIBERSC-1-RX:\u003c\/strong\u003e 3G-SDI Single Fiber SC Receiver Single Mode\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFIBERLC-1-TX:\u003c\/strong\u003e 3G-SDI Single Fiber LC Transmitter Single Mode\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFIBERLC-1-RX:\u003c\/strong\u003e 3G-SDI Single Fiber LC Receiver Single Mode\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFIBERLC-2-TX:\u003c\/strong\u003e 3G-SDI Dual Fiber LC Transmitter Single Mode\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFIBERLC-2-RX:\u003c\/strong\u003e 3G-SDI Dual Fiber LC Receiver Single Mode\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOptional 3G-SDI Multi-Mode SFPs:\u003c\/strong\u003e • \u003cstrong\u003eFIBERLC-1TX-MM:\u003c\/strong\u003e 3G-SDI Single Fiber LC Transmitter Multi-Mode 850nm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFIBERLC-1RX-MM:\u003c\/strong\u003e 3G-SDI Single Fiber LC Receiver Multi-Mode 850nm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFIBERLC-2TX-MM:\u003c\/strong\u003e 3G-SDI Dual Fiber LC Transmitter Multi-Mode 850nm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFIBERLC-2RX-MM:\u003c\/strong\u003e 3G-SDI Dual Fiber LC Receiver Multi-Mode 850nm\u003c\/li\u003e\n\u003cli\u003eSFP Configurator\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eSKAARHOJ Rack Control Duo Panel\u003c\/strong\u003e\u003cbr\u003e Integrated control of AJA’s FS family of frame synchronizers and converters with SKAARHOJ’s line of hardware based control panels. The new Rack Control Duo, developed in partnership with broadcast services provider NEP, supports AJA’s FS-HDR, FS4, FS2, and FS1-X devices and is capable of ganging control of multiple FS products and processing channels together, making set-up and on-the-fly adjustments faster and easier for operators and engineers with a single tactile hardware control panel.\u003c\/p\u003e\n\u003cp\u003eIdeal for any production environment involving multiple source signals, Rack Control Duo is an intuitive hardware control panel with tactile knobs and buttons to easily perform simultaneous adjustments across multiple AJA frame synchronizers.\u003c\/p\u003e\n\u003cp\u003eOperators can also use the panel to recall and implement presets from previous setups across one or more FS devices. When used in conjunction with FS-HDR real time HDR\/WCG converters, RGB color corrections can be performed via Rack Control Duo prior to HDR to SDR or SDR to HDR transforms, harnessing the power of AJA’s FS-HDR.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTangent Element Kb Panel Support with Free AJA Control Link Software\u003c\/strong\u003e\u003cbr\u003e The Tangent Element Kb twelve knob panel provides remote real time adjustment control of the FS-HDR’s Colorfront Engine parameters for HDR. This enables quick access and tactile control for key FS-HDR parameters in live production.\u003c\/p\u003e\n\u003cp\u003eA free stand-alone app, FS-HDR Control Link, can run on a local PC or Mac to provide communication between the Tangent panel’s USB interface and an Ethernet LAN and ultimately connect to the FS-HDR. With v2.6 firmware and above and FS-HDR Control Link software, you can control Colorfront Engine parameters across multiple FS-HDRs and utilize 4x FS-HDRs simultaneously for 8K.\u003c\/p\u003e\n\u003cp\u003eControl Link software can be found alongside the FS-HDR firmware under the Software panel on FS-HDR's support page, and instructions for use are included in the FS-HDR manual.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemote Configuration\nand Control\u003c\/strong\u003e\u003cbr\u003e FS-HDR is network ready and supports SNMP monitoring and web-based remote control. Units can be connected to any Ethernet network via the built-in 10\/100\/1000Mb Ethernet port, allowing control and configuration of multiple FS units from any web browser on a connected computer. Configurations can be saved and applied to multiple units, ensuring consistency and quick configuration in large installs.\u003c\/p\u003e\n\u003cp\u003eFS-HDR features unique over the network control of HDR settings from within its elegant interface, available from any browser, anywhere.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHDMI HDR Output\n2K\/HD HDMI output included, or use the Hi5-12G or Hi5-4K-Plus for 4K\/UltraHD HDMI output\u003c\/strong\u003e\u003cbr\u003e FS-HDR includes an HDMI 1.4 output for 2K\/HD monitoring of your HDR conversions.\u003c\/p\u003e\n\u003cp\u003eFS-HDR provides HDR infoframe generation to support HDR displays per HDMI v2.0b\/CTA-861-G. The Monitor outputs (SDI and HDMI) support 2K\/HD\/SD formats, so when monitoring a 4K or UltraHD output, the monitor outputs (both SDI and HDMI) will be automatically down-converted to 2K or HD with HDR transforms, respectively.\u003c\/p\u003e\n\u003cp\u003eFor full HDMI 2.0 to 4K\/UltraHD displays, pair your FS-HDR with either an AJA Hi5-12G for 12G-SDI to HDMI connectivity or a Hi5-4K-Plus Mini-Converter for Quad 3G-SDI to HDMI.\u003c\/p\u003e\n\u003cp\u003eAJA’s Hi5-12G preserves your vision with pristine image fidelity and HFR support up to 60p for 4K\/UltraHD 12G-SDI to HDMI 2.0 conversion needs. Both the Hi5-12G and Hi5-4K-Plus can generate HDR metadata in accordance with HDMI v2.0b\/CTA-861-G.\u003c\/p\u003e\n\u003cp\u003eView Hi5-12G\u003c\/p\u003e\n\u003cp\u003eHi5-4K-Plus provides a simple monitoring connection from professional 4K devices like the FS-HDR, using Quad 3G-SDI, Quad 1.5G-SDI, or Dual 3G-SDI outputs to new displays with 4K\/UltraHD HDMI 2.0 inputs, for cost effective monitoring for 4:2:2\/4:4:4 60p professional workflows.\u003c\/p\u003e\n\u003cp\u003eView Hi5-4K-Plus\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMassive Audio Flexibility\u003c\/strong\u003e\u003cbr\u003e The 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\u003cbr\u003e FS-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\u003cbr\u003e Automatically 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\u003eAJA Quick Start: FS-HDR\u003c\/strong\u003e\u003cbr\u003e Watch this video to learn how to configure FS-HDR utilizing the FS-HDR’s built-in web interface for both 4K\/UltraHD and multi-channel HD HDR to HDR, SDR to HDR, and HDR to SDR needs.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTech Specs:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eHDR\/WCG Real Time Processor:\u003c\/strong\u003e HDR Conversions HDR to HDR; HDR to SDR; SDR to HDR; Colorimetry BT.709 and BT.2020 \u003cbr\u003e\u003cstrong\u003eVideo Processing Transforms:\u003c\/strong\u003e Each processing channel can independently select from: Colorfront Engine - TV Mode; Colorfront Engine - Live Mode; Colorfront Engine - Film Mode; BBC HLG 3D LUTs; NBCU 3D LUTs; User 3D LUTs; Dynamic 3D LUTs \u003cbr\u003e\u003cstrong\u003eColorfront Engine (CFE) Advanced HDR Conversions:\u003c\/strong\u003e Processing Based on Human Perception Model; Perceptually optimized color volume remapping; Preserves the original creative intent; Parametric controls including HDR functions and color corrector; TV Mode for applications such as television broadcast; Live Mode for applications such as broadcast, OTT, A\/V; Film Mode for applications such as on-set camera preview and look creation; Input Video Dynamic Range\/Color Gamut SDR BT.709 100 Nits; SDR Extended BT.709; PQ BT.2020 1000 Nits; PQ P3D65 1000 Nits; Hybrid Log Gamma BT.2100; HLG Extended BT.709; HLG Extended BT.2100; Sony S-Log3 S-Gamut3; Sony S-Log3 S-Gamut3 Cine; Sony S-Log3 BT.2020; ARRI Log C Wide Gamut; ARRI LogC4 Wide Gamut 4; Panasonic V-log; RED Log3G10 Wide Gamut; Canon Log 2; Canon Log 3; ACEScct (Film mode only); Output Video Dynamic Range\/Color\u003c\/p\u003e","brand":"AJA","offers":[{"title":"Default Title","offer_id":49815426826378,"sku":"HDBNC-2RX-12G","price":635.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0740\/5240\/3338\/files\/canvas-hdbnc-2rx-12g.jpg?v=1787683932","url":"https:\/\/cinebits.co\/products\/hdbnc-2rx-12g","provider":"CineBits","version":"1.0","type":"link"}