With so many production and editing systems out there, the more codecs that ZEPLAY can support, the easier it is for our customers to import clips in preparation for the game and to export their clips and highlights in a form that their editors are best able to immediately use after the game.
One codec frequently requested was for Apple’s ProRes, native to their Final Cut editing systems, so this was one of the new featured added to the recently released ZEPLAY 2.1 Specifically, Tightrope added both the import and export of ProRes 422 (LT) to the list of files already supported. Of course all of this is in addition to ZEPLAY’s native MPEG2 I-Frame encode at 100 Mbps per stream for each of the eight input and output streams. To further facilitate workflow, ZEPLAY also supports the import and export of DVCPro and DVCPro HD, making game day operations as efficient and smooth as possible. With the addition of ProRes, Tightrope has almost all of the bases covered with ZEPLAY.
Tightrope also recently attended the Information Display and Entertainment Association (IDEA) conference in Montreal in July and I had a chance to meet a good number of ZEPLAY customers who run replays on the large screens at several professional and college stadiums and arenas. The Ottawa Senators, Tampa Bay Lightning, Denver Cutthroats, Saskatchewan Roughriders and the Minnesota Golden Gophers all stopped by to say hello and tell us how much they like their ZEPLAY’s and the support they get from Tightrope. Some of them mentioned ZEPLAY’s reliability, others its speed, others mentioned the instant access to four, eight and in one case 12 angles all at the same time. All of them mentioned ZEPLAY’s ease of use and short learning curve. As a product manager, it was all music to my ears.