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To capture 4K, users must have the ability to store larger amounts of data, because 4K literally comprises four times the amount of data used by standard HD video. The main concerns that arise from 4K recording are accessibility and affordability, as well as the speed and reliability needed for its high-data rates. Affordability cannot be understated, as readily available consumer storage mediums that are fully capable of recording continuous, high-data-rate 4K video are a key factor. 5) What is the next step for monitoring? With today’s on-camera monitors, the competitive video and motion-picture production industries now have a more complete package than ever before. End users can now expect features and functionality that would have required multiple larger, more expensive products just a few years ago. What should already be part of the package? The ability to record in a variety of formats, a full suite of monitoring functions, top-of-the-line audio-recording and media-transfer options and more, including a small form factor and an affordable price. As cameras continue to evolve, so will the on-camera monitors used with them. Like many other technologies in our industry, continued usability and a streamlined workfl ow are the wave of the future: How can we continue to do more, while adding features and functionality to an increasingly compact package? 6) How did an audio company get into monitoring? Our developers already had vast knowledge of fi le- based workfl ows and timecode synchronization for synching picture to sound. They understood the limitations of in-camera audio quality, and had gained expertise in recording and writing digital data to drives and solid-state memory with audio recorders. At the end of the day, data is just a stream of ones and zeroes, regardless of whether the data captured is audio or video, so the progression from audio to video development was a natural one. Though not designed primarily as a monitor, the now- established portable PIX 240i had a high-quality LCD monitor, which gave camera operators the ability to visualize and frame an image. Since then, a mix of research, customer feedback and industry demand from several renowned cinematographers has directly infl uenced the development of the next generation of Video Devices’ PIX products. Taking into consideration the changing production landscape, Sound Devices created a high-quality monitor with a price point that refl ects the lower-priced cameras in use today by a broader range of users. The result is the PIX-E Series of high-quality, slim-line monitors with 4K recording capabilities. The PIX-E7 is suitable for larger camera rigs that require more detail and screen space. The PIX-E5 and PIX-E5H are better suited to DSLR mirror-less camera rigs and smaller form factor cameras. Between audio, video and now monitoring, a complete, affordable small-form-factor package that can record 4K was the natural next step for today and tomorrow’s production needs. It’s been a steady progression. The Sound Devices 7-Series played a big part in production audio’s completion of the transition from analog to digital fi le-based workfl ows. The industry didn’t just require an audio recorder that records video, but a video recorder that records pristine-quality audio. PIX, a new line of professional video production tools, arose from this need. This series of products, which is now part of the Video Devices brand, was born in part from end-user requests for an SDI input on Sound Devices’ 788T audio recorders in order to distribute audio. KITPLUS - THE TV-BAY MAGAZINE: ISSUE 102 JUNE 2015 | 41