Affordable Shared Storage Solution for Video Editors

Affordable Shared Storage Solution for Video Editors

In 2016, The National Museum of African American History and Culture will be opening on the National Mall, in Washington, DC, right next to the Washington Monument.  I was honored to be hired by Black Robin Media as a DP and chief editor for a series of videos that will be part of several featured exhibits in the museum. This project has been a giant adventure, covering music, movies, TV, sports and many other aspects of Black life over the centuries. Our post production team consists of three editors working on three separate Mac based edit systems.  Because of a combination of ever-shifting delivery schedules and client approvals, we wanted to design a strategy that would allow each editor the ability to access any project at any time and pick up right where the last editor left off. We also wanted to be able to seamlessly work on all the projects from any of the three edit systems.

Our main challenge was to keep all three systems in sync and up-to-date at all times.  An ideal solution would be to employ a system likeEditShare or Avid Unity ISIS.  Even though we’re working in Adobe Creative Cloud, specifically CC, ISIS could have proved a powerful solution. and have collaborated to make it possible for Premiere Pro to take full advantage of the ISIS Shared Storage.  Sadly that solution was financially and technologically out of reach. A simpler and more affordable option would have been to employ a single network attached storage device like a Drobo, Synology orQ-Nap, as a central repository of media assets and project files, that all three edit systems could source from.  Unfortunately, the network connection in our offices is not reliable enough to sustain the data throughput necessary for smooth and efficient . Alternatively, we could have executed nightly back ups to a central NAS. That way, if one of us needed to pick up on a fellow editors project, we could just pull from the previous night’s backup.  While that is a workable solution, we feared the slow ramp-ups with all the file transfers and re-linking, not to mention the potential of getting out of sync with which version is the most recent – the one on the edit system or the one in the NAS.

The Solution – BitTorrent

Our team is a lean, effective and creative operation, as such, we were searching for the most efficient and cost-effective system that would allow any editor to work on any project, from any machine in the office at any time. (I know, that’s a lot of anys.)  Each edit system consisted of some variety of iMac or MacPro, with a 12TB Promise Technologies Pegasus 5 attached, running the latest versions of the Adobe Creative Cloud suite of applications. After exhaustive research, we decided on a product call, Sync by BitTorrent.

What is Sync?

Sync is a simple, fast and secure way to share and sync files, leveraging the of BitTorrent.

According to Wikipedia:

BitTorrent is a communications protocolfor the practice of peer-to-peer file sharingthat is used to distribute large amounts ofdata over the Internet. BitTorrent is one of the most common protocols for transferring large files, and peer-to-peer networks.

Yep, that’s right, this is the technology that powers all those pirate movie sharing services, but Sync has nothing to with that behavior.  What BitTorrent technology offers us with Sync is, it allows for virtually real-time syncing of all the data related to every project.  It’s sorta like an automated, shared cloud storage – without the need to actually store anything in the cloud.  So, as new data is created on one of our edit systems, that data is synced over the Internet to a mirrored project folder on the RAIDs attached to our other two edit systems.

Advantages

One of the advantages of BitTorrent technology is it’s blazing fast. Sync advertises its file transfers as 16 times faster than most cloud services. Along with that speed is that fact that the data transfer does not need to be contiguous. So if a large file transfer is interrupted by a power outage, network failure, or simply one of the other systems be rebooted, the transfer does not need to start again from the beginning. The data transfer picks up where it left off, the next time the network connection is reestablished. The really nice thing about all this is, none of this activity seems to have any negative impact on core system performance.

The advantages go far beyond being able to pick up and work on any project from anywhere. We’re also all able to easily access and use assets from any project, at any time. Since each edit system is working off its own directly connected RAID, There are no issues created due to network lag or congestion. And most important is the redundancy. Since the data syncing is happening virtually in real-time, each time a project is saved, a new file is created or a new piece of media is added – a copy (or backup) is synced to each of the other two system’s RAIDs.  There’s no worry of lost project data at any point in the process.

How Does It Work?

Sync’s user interface is very clean and intuitive. Once installed it’s as simple as identifying a folder to sync (share) and sharing the folder with teammates.  There is a key associated with each folder you choose to share.  You have the option of sharing that key link via email, copy and paste the key or via a QR code, which can be scanned with a mobile device. (Did I mention that Sync also works on mobile?)

Before sharing you also have the option to set permissions to a read/write for read-only mode. This is very handy for working with partners who may need to track the progress of the project but are not active contributors. Once the key link is received at the other end. The user simply clicks on the link to activate syncing.  If Sync is not already installed, the user is prompted to download and install the app.  Once installed, it’s just matter of pointing to where you want to store the synced/shared data and Sync starts the initial data transfer. It’s that simple.

Although we didn’t do it for this project, now that we have the system in place, it makes it much easier for us to work with collaborators at remote locations. We can easily share our projects with colorist, designers, composers, sound designers and of course, other editors.  They can have access to all the same assets that we have in the office and we all can collaborate effortlessly.

Cost

Did I forget to mention that everything described is in the free version of Sync?

The free version offers:

  • No file size limits
  • Unlimited number of folders
  • Sync across all mobile platforms

For $39.95, the Pro version offers:

  • All Free features +
  • Automatically add folders across all your devices
  • Save space with Selective Sync
  • Dynamically control access permissions

The needs of our project only scratched the surface of all that Sync offers. For more information about Sync visit https://www.getsync.com/

AJA CION 4K/UltraHD/2K/HD Production Camera Now Shipping

AJA CION 4K/UltraHD/2K/HD Production Camera Now Shipping

AJA CION

Maximize production and minimize post with the easiest 4K workflow yet

Grass Valley, CA (December 22, 2014)AJA Video Systems CION 4K/UltraHD/2K/HD production camera is now shipping globally. Ergonomic and lightweight in design with unparalleled connectivity, CION™ is capable of shooting at 4K/UltraHD and 2K/HD resolutions. In-camera recording directly to the Apple ProRes family of codecs, including 12-bit ProRes 444, enables incredible image quality capture to cost-effective AJA Pak SSD media at up to 4K/60p, and offers compatibility with a wide range of post production applications. CION also outputs AJA Raw HFR at up to 4K/120p. CION is the only 4K/UltraHD camera available that captures internally to 12-bit ProRes 444.

Featuring more simultaneous on-set monitoring outputs than any other camera in its class, alongside a built-in confidence monitor and LAN browser video tap, CION provides advanced monitoring flexibility for a wide range of productions. Users can choose a combination of 2 x 4K/UltraHD and 3 x 2K/HD or 8 x 2K/HD, check each camera feed in multi-cam setups through an integrated LAN connection, and monitor remaining recording time all in tandem. The unique LAN port and embedded webserver facilitates full remote configuration and control, so users can set up and control or gang control multiple CION cameras via a standard web browser. Made from a lightweight yet strong magnesium alloy and featuring a contoured suede shoulder pad, CION is easy and comfortable to setup and operate. Using AJA’s Pak Dock on set, CION operators can also achieve lightning fast transfer speeds via Thunderbolt™ or USB3 for immediate access to files for editing. Third party lens mounts are available which allow CION greater compatibility than any other 4K/UltraHD camera system.

[su_quote]CION is the culmination of years of R&D, technical ingenuity and passion. We couldn’t be prouder to release it; it not only delivers an extraordinary film-like image quality and accuracy, but offers a unique feature set that facilitates a level of flexibility and control in production environments unlike anything else before regardless of resolution – while still providing the same great reliability and support that AJA is known for,” said Nick Rashby, president, AJA Video Systems.[/su_quote]

CION Features:

  • Sensor: 4K APS-C sized CMOS sensor with an electronic global shutter. 12-stops of dynamic range.
  • Exposure index: 250, 320, 500 and 800
  • Gamma: Disabled, Normal, Normal Expanded, Video and Expanded 1
  • Recording Formats and Resolutions: Apple ProRes 4444, Apple ProRes 422 (HQ), Apple ProRes 422, ProRes 422 (LT) and Apple ProRes (Proxy); 4K (4096×2160), UltraHD (3840×2160), 2K (2048×1080), HD (1920×1080). 2K and HD are hardware scaled from the full 4K sensor for high-quality over-sampled images and retention of field-of-view.
  • Media: Record to AJA Pak SSD media available in 256GB and 512GB capacities. Transfer via Thunderbolt™ or USB3 with optional AJA Pak Dock; Complete 10-bit and 12-bit workflow from HD to 4K.
  • Raw Support: Output AJA Raw via 3G-SDI at up to 4K 120 fps or via Thunderbolt™ at up to 4K 30 fps.
  • Lens Mount: Industry standard PL mount, removable, with 3rd party mounts available for CanonEF/FD, Nikon F/G-Mount, Leica M, ARRI Bayonet, Panavision and B4 ENG lens types.
  • Connectors:
  • 4 x 3G-SDI/HD-SDI outputs (4K/UltraHD/2K/HD)
  • 2 x 3G/HD-SDI monitor outputs with overlay support
  • 1 x HDMI output offering support for 4K and UltraHD or scaled 2K/HD
  • 1 x HDMI output for 2K/HD
  • 2 x mic/line/48v XLR analog audio inputs
  • 2 x LANC control ports
  • 1 x LTC input connector
  • 1 x Reference connector
  • 1 x USB connector
  • 1 x 10/100/1000 Ethernet LAN connection
  • 1 x Mini TRS headphone jack
  • 1 x 4-pin XLR power connector
  • 1 x input power connector for attaching third-party battery plates
  • 1 x P-TAP output power connector
  • 1x Thunderbolt™ connector

Optical Low Pass Filter and IR cut filter: An integrated OLPF (Optical Low Pass Filter) reduces unwanted moiré effects while still retaining vital image detail. The infrared (IR) cut filter produces high quality colors within the image by blocking unwanted light wavelengths.

Back Focus Adjustment: The mechanical calibrations of the distance between lens and sensor allows finely tuned adjustments to ensure the sharpest image quality possible.

Industrial design: Lightweight magnesium chassis, built-in confidence monitor, standard playback controls and connectors placed to optimize functionality. Integrated “cheese plates” fitted to both the top and the bottom of the chassis provide easy mounting of accessories.  All CION accessory connection points use open standards, including 15mm rods, 1/4-20 and 3/8-16 threaded holes, and M6 hirth-tooth rosettes.

User interface: Via operator side panel display, control knob and buttons or via LAN connection using a web-browser; no software installation required.

Pricing and Availability

Pricing for CION is US MSRP $8,995. AJA Pak SSD media is available at a US MSRP of $695 (256GB) and $1295 (512GB). AJA Pak Dock is available at a US MSRP of $395 along with a host of other AJA camera accessories. To place orders, please visit http://www.aja.com/en/where-to-buy#wtb-cion for a list of AJA CION resellers. For additional CION information and a full list of features, visit www.aja.com

Third-party camera accessory manufacturers including Alphatron, MTF, Portabrace, Wooden Camera, Vocas, Zacuto, Arri and many others have already produced several accessories, from viewfinders to lens mounts and protective cases for CION and are available through their respective retail channels. Support for AJA Raw has already been announced by industry-leading workflow companies, including Adobe and Colorfront.

About AJA Video Systems, Inc.

Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional, broadcast and post-production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.

Blackmagic Design is adding 80fps recording to URSA Digital Film Camera

Blackmagic Design is adding 80fps recording to URSA Digital Film Camera

Owning a modern movie camera is like having a gift that just keeps on giving. The latest gift – Blackmagic Design is adding 80fps recording to URSA Digital Film Camera.

[su_box title=”Via Blackmagic Designs” box_color=”#eeeeee” title_color=”#000000″ radius=”5″]Major update includes 80 fps 4K recording, new 3:1 compressed RAW, frame guides, slow-mo playback, CFast formatting, scrolling menus and much more.

Fremont, CA – November 20, 2014 – Blackmagic Design today announced Blackmagic Camera 1.9.9, a major software update with multiple new features for the Blackmagic URSA digital film camera. This new update has been developed in conjunction with the high end cinematographers that are using URSA cameras for high end work.

Blackmagic Camera 1.9.9 can be downloaded now from the Blackmagic Design web site.

One of the most powerful new features in Blackmagic Camera 1.9.9 is support for higher frame rate recording combined with the new menu control of recording frames rates for URSA cameras. This new software increases the recording frame rate up to 80 frames per second, which allows enhanced slow motion shooting with a more fluid feel to shots.

The frame rate settings in URSA have been changed and now the record frame rate is not limited by the video frame rate. This means customers can select the frame rate they want their work to be done, such as 24 frames per second for a feature film shoot, and then independently select the recording rate from 5 all the way up to 80 frames per second. The advantage of this is the URSA camera can shoot slow motion or fast motion shots but all the recorded video files are always set to the video rate, and you can see the effect of the higher or slower frame rate when playing. This means you can playback the exact same look on the cameras as the clips will play in a time line of editing software.

When shooting higher frame rates for high end feature films and television commercials, where image quality is critical, this new Blackmagic Camera 1.9.9 update includes a new CinemaDNG 12 bit RAW format that uses 3:1 compression to allow RAW files to be recorded in one third of the size of uncompressed RAW files allowing double the storage capacity on the same sized CFast card. This new compressed RAW 3:1 format allows higher frames to be recorded in the CFast cards, while retaining all the advantages of RAW recording, where the image processing in software such as DaVinci Resolve can get access to every single bit of quality from the sensor data in the camera.

Blackmagic Camera 1.9.9 also includes in camera formatting of CFast cards so when on a shoot, a computer is not needed to prepare CFast cards for use. Unlike formatting on a computer, the Blackmagic URSA camera technically analyzes the CFast card’s memory storage structure and will optimize formatting to allow best performance when used for real time digital film data recording. This means a card formatted in URSA can get much better performance than a card formatted on a computer.

This new software update also adds multiple new user interface changes to the Blackmagic URSA camera, including the new Dashboard menu screen allowing features such as formatting and other settings to be selected. Also included in the new user interface is scrolling menus. The new scrolling menus allow customers to slide their finger on the touch screens vertically to scroll through a longer list of settings in the menus, vital on a camera with so many features that can be customized by the cinematographer.

New menu settings included in Blackmagic Camera 1.9.9 includes on screen framing guides allowing a range of common feature film aspect ratios to be displayed on the fold out monitor, such as 2.35:1, 1.85:1 and more. These framing guides are displayed as translucent letterbox overlays and the opacity can also be adjusted by the user. Multiple other framing assistance guides can also be displayed.

“This is a massive update for all URSA customers,” said Grant Petty, CEO, Blackmagic Design. “There are so many new features in this software, it’s like having a whole new camera, just by updating the software! We have worked hard on this update and we think this software update is really showing off the power of the URSA hardware design and what it’s capable of doing. There is more to come!”

Blackmagic URSA Key Features

  • Large high resolution 4K Super 35 mm sized sensor with superior handing of image detail.
  • Professional global shutter for smooth pans and image motion.
  • Wide 12 stops of dynamic range allows capture of increased details for feature film look.
  • Compatible with extremely high quality PL or EF mount lenses, depending on model.
  • User upgradable design allows customers to upgrade and change the sensor and lens mount.
  • Built in dual CFast 2.0 card recorders allow unlimited duration recording in high quality.
  • Open file formats compatible with popular edit software, such as ProRes, CinemaDNG RAW and CinemaDNG RAW 3:1 in 12 bit. No custom file formats.
  • Support for ProRes HQ, ProRes 422, ProRes LT, ProRes Proxy at resolutions up to Ultra HD.
  • Features all standard connections, including dual XLR mic/line audio inputs with phantom power, 6G-SDI output for monitoring with camera status graphic overlay and separate XLR 4 pin power output for viewfinder power, 6G-SDI monitoring input, headphone jack, LANC remote control and standard 4 pin 12V DC power connection.
  • Built in stereo microphones for recording sound.
  • 3 separate built in LCD monitors for camera settings and metadata entry. Large 10 inch screen folds out for full resolution HD monitoring with wide viewing angle and high brightness.
  • Supports Ultra HD and 1080 HD resolution capture in 23.98, 24, 25, 29.97, 30 up to 60 fps.
  • Liquid cooling system allowing higher frame rates when future sensors support this feature.
  • Supports quick release tripod mounts and adding V-Mount or Anton/Bauer mount battery plates.
  • Includes full copy of DaVinci Resolve software color grading and editing software.

Availability and Price

Blackmagic Camera 1.9.9. update is available for free download now from the Blackmagic Design website for all Blackmagic URSA customers.

Press Photography

Product photos of the Blackmagic URSA, and all other Blackmagic Design products, are available at www.blackmagicdesign.com.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.[/su_box]

Blackmagic Design Announces Blackmagic URSA

Blackmagic Design Announces Blackmagic URSA

Blackmagic_URSA

[su_quote]

Introducing the world’s first digital film camera designed to revolutionize on set workflow while featuring a user upgradable sensor and lens mount, large 10 inch fold out monitor and more!

NAB 2014, Las Vegas, USA – April 7, 2014 – Blackmagic Design today announced Blackmagic URSA, a new high end digital film camera designed to revolutionize workflow on set. Built to handle the ergonomics of large film crews as well as single person use, URSA has multiple accessories built in, including a massive 10 inch fold out on set monitor, large user upgradable Super 35 global shutter 4K image sensor and internal dual RAW and Apple ProRes recorders.

Because the sensor and lens mount assembly can be changed, customers can choose EF or PL lens mounts, or even a broadcast video sensor with B4 mount, then upgrade the camera in the future. The Blackmagic URSA EF model will retail for $5,995.

Blackmagic URSA will be demonstrated on the Blackmagic Design NAB 2014 booth at #SL219.

Blackmagic URSA is designed to be used on high end feature films, commercials, episodic television production, documentaries, electronic news gathering, music videos and more. When used on jobs with a large crew, customers can easily dress the camera with high quality cinema lenses, rails, follow focus, matte boxes and more. With built in scopes for exposure, focus and audio levels, built in dual recorders and the large 10 inch fold out on set monitor, customers can dramatically reduce on set equipment because it’s all built into the camera.

The Blackmagic URSA features a larger professional size that has the space for powerful cooling that allows higher frame rates while keeping the chassis cool and the fan quiet. The sleek futuristic machined aluminum design is incredibly strong and has been designed for large film crews while being able to be field upgraded to new sensors by the user. Each area of the camera has been divided into separate DOP, camera assistant and audio engineer work stations. The DOP station features a large 10 inch fold out on set monitor and separate 5 inch screen for settings, camera status and scopes. The camera assist station features a separate screen for camera settings, status and scopes and an audio station features audio meters, controls and audio connections.

Blackmagic URSA is a true professional digital film camera with a 4K sensor, global shutter and a wide 12 stops of dynamic range. The wide dynamic range is superior to regular video cameras or even high end broadcast cameras and results in dramatically better images that look like true digital film. The large Super 35 size sensor allows for creative shallow depth of field shooting and high resolution Ultra HD, 12 bit lossless compressed Cinema DNG RAW and Apple ProRes™ allow for easy post production workflow with minimum storage requirements.

The Blackmagic URSA features a modular camera turret that can be simply replaced by removing 4 simple bolts! The camera turret includes the sensor, lens mount and lens control connections and can be upgraded in the future when new types of sensors are developed. There are currently 4 models to choose from, URSA PL supports PL mount lenses and URSA EF supports EF mount lenses from Canon, Zeiss and more. Both of these models include the large Super 35 sized global shutter digital film sensor. The URSA Broadcast B4 model, available late 2014, features a broadcast video Ultra HD sensor and B4 lens mount used in broadcast. The URSA HDMI model has no sensor and its lens mount is replaced by a “cheese plate” of mounting points and a HDMI input, allowing any third party camera to get the benefit of the URSA camera body features.

“Our goal when developing the URSA was to build a camera that had all the cooling capacity for higher frame rates, and a large on set monitor as well as built in scopes so you had everything you need built into the camera itself. The problem with spending so much money building in such incredible accessories is that they become outdated as sensor technology moves on. So we designed the ability to upgrade the sensor so customers can simply bolt on a new sensor and turret assembly in the future!”, said Grant Petty, CEO, Blackmagic Design, “We think this is a revolution and this upgradable design means we have been able to put a lot more effort into the design of the camera body itself and the quality of the screens, recorders, cooling system and processing power than would normally be offered. The result is one of the most amazing television products I have ever seen!”

Blackmagic URSA PL and URSA EF Key Features

  • Large high resolution 4K Super 35 mm sized sensor with superior handing of image detail.
  • Professional global shutter for smooth pans and image motion.
  • Wide 12 stops of dynamic range allows capture of increased details for feature film look.
  • Compatible with extremely high quality PL or EF mount lenses.
  • User upgradable design allows customers to upgrade and change the sensor and lens mount.
  • Built in dual CFast 2.0 card recorders allow unlimited duration recording in high quality.
  • Open file formats compatible with popular NLE software, such as Apple ProRes and compressed CinemaDNG 12 bit RAW. No custom file formats.
  • Support for ProRes HQ, ProRes 422, ProRes LT, ProRes Proxy recording at resolutions up to Ultra HD.
  • Features all standard connections, including dual XLR mic/line audio inputs with phantom power, 6G-SDI output for monitoring with camera status graphic overlay and separate XLR 4 pin power output for viewfinder power, 6G-SDI monitoring input, headphone jack, LANC remote control and standard 4 pin 12V DC power connection.
  • Built in stereo microphones for recording sound.
  • 3 separate built in LCD monitors for camera settings and metadata entry. Large 10 inch screen folds out for full resolution HD monitoring with wide viewing angle and high brightness.
  • Supports Ultra HD and 1080 HD resolution capture in 23.98, 24, 25, 29.97, 30 up to 60 fps.
  • Features liquid cooling system allowing higher frame rates when future sensors support this feature.
  • Supports quick release tripod mounts and adding V-Mount and Anton/Bauer mount battery plates.
  • Includes full copy of DaVinci Resolve software color grading and editing software.

Availability and Price

Blackmagic URSA will be available in June/July from US$5,995 from Blackmagic Design resellers worldwide.

Press Photography

Product photos of the Blackmagic URSA, and all other Blackmagic Design products, are available at www.blackmagicdesign.com.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

[/su_quote]

Say Hello to Avid Media Composer 7

Say Hello to Avid Media Composer 7

image

Avid has released its pro-grade non-linear editor, Media Composer 7, as part of its NAB 2013 news. New features in Media Composer 7 include the following: AMA media management — Media linked via Avid Media Access (AMA) now benefits from the complete suite of industry-leading media management tools formerly reserved for native Avid media. Dynamic media folders — Accelerates and simplifies AMA media management tasks automatically in the background. FrameFlex™ tool and LUT support — Enables editors to ingest 2K, 4K, and 5K media with real-time color space conversion and deliver content directly to HD. Master Audio Fader — Enables editors to control overall program volume and insert plug-ins for compression, equalization, and compliance metering. Clip Gain — Editors can adjust gain on a specific clip, independent of track-based automation, without engaging separate audio tools. Symphony Color Correction option — Lets editors add advanced color correction tools previously found only in Avid Symphony. Interplay Sphere for Mac — Enables creative teams to edit, share, tag, track, and sync media as it flows through the production process anywhere in the world (Media Composer Interplay Edition required). Media Composer 7 now retails for $999. A version that offers the ability to connect to Avid Interplay will retail for $1499. [via Avid]