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Telestream`s Pipeline
It`s a simple, powerful design that is refreshing
By Heath McKnight
Telestream`s Pipeline and Pipeline Quad are encoding systems for networked Macintosh and Windows-based computers. It works well with FlipFactory, the company`s encoder (sold separately) that can place video and audio from nearly all forms of media, on virtually any device. This review covers the Pipeline ($1,950) on a Mac running Final Cut Pro (FCP), which encodes standard definition only.
The Pipeline has two SDI ports (in and out) plus an RS-422 port (controls the VTR deck), along with an Ethernet port to hook up to a network array, or simply another computer. It`s a simple design that is refreshing, to be honest. Many capture cards and break-out boxes have more i/o ports than an editor may ever use.
To review the Pipeline, I enlisted my friend and colleague, Aaron Wells of Silver Beach Productions. Aaron has years of experience in film and video production, and his Final Cut Pro online suite is set up for uncompressed standard definition (SD) and high definition (HD) editing. We chose his PowerMac G5 dual-core desktop as our capture computer, and a MacBook Pro as the second unit.
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| Rear of Pipeline |
Set-Up
Setting up the Pipeline with Aaron`s system was straightforward. We hooked the Pipeline up to his Kona capture card, with SDI-out, which acted as our SDI-enabled VTR deck, and it worked perfectly. We both installed the software, which has a copy of Pipeline Porter, an important application for getting video into the system. We then hooked an Ethernet cable from the Pipeline to the MacBook Pro, and we were ready to rock.
Working with the Pipeline
Aaron is working on a documentary about the 1980s Miami rock and punk scene, so that`s what we used to test the Pipeline. Aaron changed his timeline from DVCPRO HD to DV/DVCPRO NTSC, while I opened the Pipeline Porter. You can also access the Pipeline Porter in FCP: go to File, Import, Pipeline, and it will pop up within FCP.
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| Pipeline Porter |
While in Porter, there are a couple of choices that need to be made: what type of video to encode to (including DV/DVCPRO NTSC and Apple MPEG IMX, 30, 40 or 50 mbps, plus similar PAL settings) and basic audio settings. I chose to encode in DV/DVCPRO NTSC and set the audio as two channels. Under Preferences, I selected where I wanted captured video to go, which is the Scratch Disk, an external FireWire drive, in this case.
Since the desktop with FCP was acting as our VTR, Aaron simply hit play and I hit record, and we were on our way. There were no issues with capturing in both DV and IMX 50. I was even able to edit in FCP without any issues whatsoever.
Real-World Applications
Obviously, in the real world, the Pipepline would be hooked up to a central VTR deck and connected to a LAN (Local Area Network) and perhaps a SAN (Storage Area Network, though it`s not required), and any computer connected to the network via Ethernet, will have access to the VTR deck, for both capturing and outputting back to tape.
Picture setting up an edit suite with three FCP systems; the price is pretty steep, especially when you budget in three SDI-compliant VTR decks. Now, imagine having a Pipeline (at $1,950) and a single VTR deck networked to the systems. Sure, there could be trouble with who is loading tapes for which project, but in a similar set-up, my colleagues and I were sharing a single HDV/DVCAM deck between the three of us.
For a company that has multiple editors working on the same project, such as TV news or even a movie, this is also ideal, as everyone will have access to footage and the VTR deck. Again, there is no need for extra VTR decks. Perhaps when a cut is nearly done, the primary editor and colorist will be able to easily access the footage and do finishes on the project.
The Pipeline is easily upgradeable, so when new software that includes new video encoders and other features, you don`t have to go out and buy a Pipeline all over again, hence the SDI I/O ports. Many of my colleagues have gone through different capture cards through the years, as more and more I/O ports are added.
Getting back to TV news, as a former video editor at a local affiliate, working Telestream`s Pipeline into any Mac- or Windows-based NLE (non-linear editor) suite is ideal. Having a central hub of perhaps four Pipelines and VTR decks for news videographers to capture the day`s tapes is great, and any editor has access to the footage and VTR decks over the network. Then, use File, Export, Pipeline Porter to go back to tape, or open Porter separately and choose Export.
Even if you`re a single editor, this can come in handy. Capture into your desktop and a portable Mac, then take the footage and FCP project file with you to a client`s location to show off what you`ve been working on. You don`t have to have an office with multiple editors to benefit from Pipeline.
System Requirements
For a Mac running FCP, you`ll need at least a PowerMac G5 (I recommend a dual-core or the quad-core) or an Intel Mac Pro or MacBook Pro with an Intel Core Duo, Core 2 Duo, quad-core, or 8-core set-up. If you`re working with video, a minimum of 2GB RAM is always necessary, but max it out to at least 4GB or more, depending on the budget. For networking, a 100BaseT Ethernet port, or faster, is required. Software-wise, FCP 5.1.4 and QuickTime 7.15, minimum, is required. Lastly, your operating system needs to be running Apple OS X 10.4 or later. It worked just fine in both Leopard (10.5.x) and Tiger (10.4.x) in my tests.
Conclusion
Once Pipeline is up and running on some Final Cut Pro Apple computers, it`s very easy to capture footage. As I said above, the real-world applications are numerous, with TV news editors probably benefiting the most. "As more and more local affiliates and networks move in HD, I`m sure Telestream will provide HD solutions." www.telestream.net
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