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capability ultimately would make content available more quickly at higher quality, and would make it unnecessary to create and store the content in other formats. As a bonus, it would eliminate distortions by playing files in their native frame rate as opposed to the frame rate in the desktop setting. Rather than move the people to where the master files can be viewed, or create and store mezzanine and proxy files, or supply everyone with proprietary workstations just for viewing, facilities could simply install an affordable, vendor-neutral product so that users could view master files wherever they work – with confidence that they’re seeing the pristine quality that’s intended. Archimedia Technology is new to us. Who are you? and SDI monitors, projectors, and multiviewers; editing software; encoders and capture cards; color correctors, restoration workstations, and standards converters; videotape and disk recorders; broadcast playout servers; test equipment such as vectorscopes and waveform monitors; and SDI routers. There‘s no guarantee a particular file will play on a particular piece of equipment. Based on the sheer number of formats and all the possible places to play them, it’s safe to say that no single format will rise above the rest to become an industry standard anytime soon. So complexity will continue to present challenges. How do we resolve them? Master files are the ideal format for converting to other formats, so the industry must adapt solutions that can accommodate those formats. There are no universal players or management tools to support such large and cumbersome files, so most facilities simply store the masters and use other lossy formats when editing or converting files for delivery. What’s needed is an affordable, universal way to work with, interchange, and deliver copies of master files directly from their originals while eliminating the need to store multiple formats. (And by affordable, I mean able to be purchased online using a credit card, with prices and buying experiences like on The solution must work for video engineers, archivists, and manufacturers, and allow all of them to see the same things on their standard HDMI HDTV screens without proprietary software or expensive hardware. The ideal solution would support multiple vendors’ formats and mastering formats in the most popular wrappers from all major manufacturers, thus eliminating the need to work with mezzanine and proxy copies. Instead, users could see their masters with internal technical metadata on their choice of third- party equipment. This revolutionary Simply put, we are a new company with ground-breaking technology and applications that bridge the gap between content producers and their archives without loss of quality. My partners and I co-founded Archimedia and created our flagship product, Archimedia Reference Player, to ensure video engineers and archivists can access, play, manage, and test files in mastering formats including JPEG 2000 and DPX. We are explicitly committed to supporting all current and future master formats regardless of origin. At NAB this year, we saw 4K cameras everywhere, but no way to deliver and read the files. There are no tools to satisfy both the people who create the master files and the people who archive them, so we decided to solve that problem. We’ve all spent many years developing video archiving, digitization, and test technologies for some of the world’s leading archive companies, broadcasters, and digital cinema studios. Now we’ve channeled that expertise into technology that gives users innovative tools they’ve never had before but have long needed — streamlining an incredibly complex process. TV-BAY MAGAZINE: ISSUE 80 AUGUST 2013 | 71