Pronology, a developer of cutting-edge tapeless workflow solutions, is introducing its new mRes™ standalone multi-resolution encoder at the 2016 NAB Show (Booth SL12407). The company’s first standalone encoder, mRes seamlessly records three tiers of uncompressed video per SDI input channel prior to compression and wrapping, without missing a frame of action: a high-resolution media file, an edit proxy and a live web-streamable proxy, all while offering users flexibility and ease of use at a low cost point.
This unique, uncompressed recording architecture allows mRes to provide various file formats without any loss of quality or signal degradation. This is due to the fact that each copy is created from the original uncompressed file. For any given production, the various departments often require different codecs, wrappers and resolutions. When using mRes, a production team now has access to the content they need, in any of the required compression formats, instantaneously.
mRes is controlled by Pronology’s new clip controller application, which allows the encoder to be operated with a simple-to-deploy, easy-to-use standalone control application. mRes integrates with most storage systems, such as Avid® ISIS and Small Tree. It also integrates with various NLE systems, including Avid®, Apple® and Adobe® Premiere® Pro CC, supporting growing clips for Edit-While-Capture workflows.
“mRes is an always-on baseband uncompressed recording technology that captures every ‘bit’ of video without any initial compression or wrapping as it writes its compressed files to any external storage system while maintaining a full copy local to the recording server,” says Jonathan Aroesty, president of Pronology. “This assures reliability even in the event of a network or storage disruption; there is never a loss of content or metadata. mRes simultaneously creates a compressed version of the uncompressed content in any of the popular compression formats. Since each copy is created from the original uncompressed file, there is no loss of quality typically found with transcoding. This is a great feature for productions that work in various formats, as different departments require different versions of the same content. Having immediate access to these various formats without any degradation of the content is extremely cost effective and efficient.”
mRes was most recently used at the 88th Annual OSCARS®, the 21st Annual Critics’ Choice Awards, FOX’s Grease: Live! as well as the 2016 MTV Movie Awards. “The flexibility of mRes allows for the concurrent acquisition of media in different codecs, such as DNxHD, ProRes, XDCam and AVC-Intra, with various wrappers at most frame rates,” adds Aroesty. “We are looking forward to launching the mRes solution at this year’s NAB and speaking one-on-one with customers about these advanced features and more.”