Medium Format Video is slowly becoming a thing, as anyone with an attentive eye walking the floor of Photokina 2016 this past week could tell you. After numerous talks with medium format camera manufacturers at the show, I can certainly see a pattern evolving. We also managed to get some clean footage from the Phase One XF camera with the new IQ3 module. Is Medium Format Video Coming? Of all the current trends in digital cinematography, one of the most interesting is the shift towards larger sensors. We can also observe this in the photo segment, and as photo and video move closer and closer together, Photokina 2016 proved to be a very important show indeed. In the case of the Phase One XF camera, it seems almost like a déjà-vu from the time when we started cinema5D, back when the Canon 5D Mark II came out. Back then, Canon and Nikon were clueless that they had created an entirely new tool that caused a revolution and blurred the border between high end cinema and entry level video shooting. A similar transformation of the market seems to be in progress on the medium format front. Phase One XF and the IQ3 camera back Upon showing up with an Atomos Shogun Flame at the Phase One booth at Photokina, everyone seemed quite confused. We wanted to do was capture the HDMI stream from their new medium format camera. Of course, they focus on the kind of high-end photography that their expensive cameras really excel at, so they have little interest in video at all. But they didn’t seem to suspect that, with a few tweaks, this system could become a valuable asset for video shooting photographers and filmmakers alike. Unfortunately, many manufacturers today are often looking at their existing user base and sometimes miss an opportunity like this. I’m certain that in the not too distant future medium format video will be a standard in these cameras, likely in 8K, just like 4K is now a standard in every new mirrorless photo camera that comes out. Atomos Shogun Flame connected to Phase One XF via HDMI As you can see in the video we shot, the video capabilities of the Phase One XF with IQ3 back is still taking baby steps. In fact, it looks like the clean HDMI output with manual controls that we were able to record with the Atomos Shogun Flame is more a coincidence than a conscious decision. We really hope Phase One will take this functionality further and add some kind of log gamma output or a reduced contrast mode allowing for capture of the full dynamic range of the output, because the footage surely looks very very nice. The bokeh was soft like butter the way that only a medium format camera can capture, and the quality was very nice, without any noticeable aliasing or noise. Just an external, clean HDMI output in 4K would certainly make a big difference. Why is large format video a thing? Read our popular article: Full Frame and Beyond – Large Sensor Digital Cinema Who Else is Doing Medium Format Video? As mentioned, there are a few medium format companies that are on the brink of incorporating usable video functionality in their cameras. I believe none of them realise the potential for filmmakers. Fujifilm GFX 50S The Fujifilm GFX 50S presented at Photokina 2016 is a compact medium format camera that introduces a new lens mount and lens family altogether. The Fujifilm GFX 50S has a 51.4-megapixel resolution (8256 x 6192) and is confirmed to shoot video internally. We had a talk with Fujifilm general manager Theo Georghiades, but unfortunately our microphone system died during this video interview. In short, there will be no 4K in this camera, but we’re looking forward to the HD footage this new medium format will produce. Hasselblad H6D-100c This camera was introduced in April of this year and brings with it 4K RAW video. At Photokina 2016, the people from Hasselblad showed us the first 4K footage from this camera and it looked amazing. Like others, they mostly pointed at the photo functionality and see this merely as a bonus for photographers. We hope to review this camera soon. Hasselblad X1D-50c Then there’s the X series. The Hasselblad X1D-50c medium format camera will also capture HD video at 25fps (?) and in an H.264 format. Leica S (Typ 007) Then there’s the Leica S (Typ 007) of course, which captures 4K DCI at 4:2:2, but does so with a S35 crop of the sensor. Sinar S30|45 Digital Back [Update:] As cinema5D reader Josh Evans pointed out, Swiss camera manufacturer Sinar also just released a digital camera back that records 4K video internally. The Sinarback S30|45 has a Leica CMOS-sensor and Leica Maestro II image processor. This camera back is specifically designed to shoot both stills and video. What’s next? Clearly the medium format camera manufacturers have some more work to do if they want to make these cameras also fit the needs of filmmakers, but these first steps are a good start and give us something to look forward to. Among filmmakers, large format is starting to make a comeback: Arri took an important step with the Arri ALEXA 65 to establish a larger digital sensor size, just like the Phantom 65, Panavision DXL or RED’s VistaVision 8K camera. What do you think? Where are we heading with medium format video? Are we likely to see 4K or even 8K video on medium format cameras anytime soon? Would you adopt it? Let the camera manufacturers know. Some are still listening.Read more
Atomos Firmware Update 7.1 has been announced for the Flame monitor/recorder line. The update brings support for JVC and Red log signals, as well as PQ in/out and improved HDR features. The Flame line are the latest in-field monitor/recorders from Atomos. Check out our Atomos Shogun Flame review here. Atomos has improved the feature and support list for the flame recorders/monitors with firmware 7.1, with now the entire RED camera range covered as well as J-log from JVC cameras. PQ in/out is now supported meaning the Flame recorders can accept a ST2084 signal from compatible HDR camera or computer, and Color Mapping has been improved, increasing performance in the blacks. In terms of new features, the update mostly surrounds the AtomHDR mode of the Flame recorders. Previously AtomHDR was an on/off function with a slightly ambiguous ‘viewing environment’ slider. This has been replaced with a Scene Brightness Range which is meant to increase/decrease the dynamic range of the HDR view, starting from Rec709 up to full HDR mode (graphics display in percentage how much you are over Rec709). The new slider is accessible in the menu and on full screen view, with the addition of a clipping graticule (yellow line) on the waveform to signify where the additional dynamic range view is placed. You can also hit Auto HDR to set the clipping graticule to the maximum luminance level of your scene. Other additional features include slow motion playback. This is a nice feature and one I hope takes advantage of native higher speed recordings such as 50/60p from the Sony Alpha Cameras and plays them back in smooth slow motion (great when a client asks to watch that back and you have to explain that you can slow it down in post). There are 5 different speeds to this mode. Atomos has added back in a missing feature from their previous recorders; the ability to prioritise your power source (top/bottom battery or DC input). This is great for organising your power mode, specifically if one is powering an accessory like a wireless transmitter and you want to reserve as much juice from that particular battery as you can. Atomos Firmware Update 7.1 is available for download now from the Atomos website.Read more
Atomos and FilmConvert have collaborated to release two custom LUTs. Filmmaker Philip Bloom and our very own Nino Leitner have created the two new profiles that will be free to download for existing Atomos users. FilmConvert has been a favorite go-to tool for film stock emulation for some time, offering stand-alone and plug-in support for NLE systems in the form of a very quick and easy to use colour correcting interface. Nino Leitner and Philip Bloom have got on board with the FilmConvert/Atomos collab to provide a pair of free downloadable LUTs they have created. Nino used it on his recent large documentary project in South Africa about the preservation of the rhino, which you can watch here for free. Using Stock & Custom LUTs The campaign is designed to highlight a feature that is often one overlooked of the FilmConvert software; the fact that you can export any of your customized or stock library LUTs into .cube format and load into on-camera devices like an Atomos recorder. The use of LUTs (Look Up Tables) on set can be a powerful tool. Viewing an image in log can be useful for an operator monitoring a captured image, but to the less trained eye (Directors, Producers, end client, etc.a) all that they see is a flat and ugly looking image. Displaying an LUT that is close to the original image can help other (sometimes, more important) eyes see what the final product may look like. Not only used for a view of a final output, custom LUTs can also be used in a more practical form. Converting a flat log image to a Rec 709 profile adds contrast that helps exposure tools such as peaking function better, therefore helping you (the operator). Monitors such as the Atoms Shogun and Ninja Assassin offer simple log to Rec 709 conversion and the new Atomos FLAME line also adds the ability to view the HDR capability of your log input, with a version of AtomHDR coming to the Shogun and Assassin in the near future. A custom LOOK lut can come into play when exposing the like of Slog for SDR delivery allowing you to ride the high exposure to create a log master that’s ready for HDR but then utilize a LUT that can applys 2 stop reduction to a rec 709 profile that would otherwise look blown out when exposing correctly for S log. It’s very easy to load in custom LUTs into your Atomos recorder, simply drop the .cube file onto your SSD and hit load via the LUT menu. Similar processes can be found on other devices such as SmallHD monitors via SD card. FilmConvert offers export support for any of their stock library LUTs, or ones that you have created. Register and you shall receive To obtain your free LUT pair (along with another complimentary FilmConvert profile of your choice) register your Atomos device here.Read more
Atomos has had a string of announcements over the last couple of months, most notably three new 1500-nit, HDR-ready field monitors/recorders. I got hold of one of the first batch of their Shogun Flame units in for review. When the Atomos announced the Flame series (Shogun, Ninja and now Inferno), I was very intrigued. I’ve been a long-time user of Atomos recorders, and have owned the original Atomos Shogun since not long after it came out a few years ago. I had a feeling of what to expect with the Flame recorders: daylight viewable display, dual battery port, better build, HDR view, these things looked nice. Before I get into my review fully, here’s my TL DR (too long, didn’t read): The Atomos Shogun Flame is a worthy upgrade to the original Shogun. Whilst the original 7” monitor/recorder was great value, there were many points where a mark II could improve on. The Shogun Flame addresses some key issues and then some. Dual battery slots and a better build are reasons enough to upgrade, but the addition of a 1500-nit, 10-bit panel really puts the Flame line in a different class to the original Shogun and Ninja Assassin. And that’s even before we get to the new HDR view feature. Whilst on the surface it seems a little gimmicky, it has proven to be a genuinely handy tool for monitoring super flat log sources like Sony S-log. However, I personally feel 7” is still too big of a display for on-camera monitoring, especially on smaller cameras like the Sony Alpha series. A smaller 5.5” version would’ve been a much more ergonomically sound decision. Atomos Shogun Flame Review For the full list of features of the Shogun and Ninja Flame, check out my original news post here. Here are the key features I picked up on as an update to the original Shogun, and the ones everyone will most likely be interested to hear about: 1500-nit Daylight View Display 10-bit Panel HDR View Feature Improved Build Quality Dual Battery Slots And here is a list of downfalls of the original Atomos Shogun that I was hoping would be addressed with the Shogun Flame: Poor on-camera form factor Glare-prone screen Poor power performance Some batteries sit loose in the mount Delicate Build Quality Lets see how the new features line up and how many of the above issues have been addressed. Daylight Viewable Display This feature is a huge selling point for me. I’ve been after a daylight viewable display for some time now for Movi operation, as I find hoods and gimbals don’t get on. Add to this the Shogun Flame’s ProRes recording capabilities, and you have a huge plus. It’s not just marketing jargon, this thing really is bright. Matt Allard from NewsShooter proved with a light meter that the claim of 1500 nits was accurate, but you can see below just how that translates in the real world. Comparing the Atomos Shogun and Atomos Shogun Flame you can see just how much easier it is to see the latter in daylight environments. Both monitors were receiving the same test pattern from a single Atomos H2S converter at their respective most bright setting. It seems that the viewing angle of the Shogun Flame is also improved. I wouldn’t say that glare is any more controlled (both are glossy displays), but the increased brightness often creates the perception that it is better. The Modes One thing Atomos mention in their marketing is the choice to switch between HDR mode and daylight viewable mode. In fact there are four modes: Native Source Video, Atom HDR, Log To Video and Custom Look. Native Source is simply what the monitor receives from the camera, without any further processing. Every viewing feature is greyed out here except for the brightness scale. AtomHDR is the new HDR feature, I’ll come to this in more detail, but here you can choose your camera type, gamma and gamut as well as enable soft clip and Viewing Environment (brightness). Log To Video has the same camera/gamma/gamut choices as AtomHDR, but also converts your signal into a Rec709 profile, just like the pre-loaded LUTs do on the original Shogun. Custom Look is where you have the option to load in custom LUTs. This is the only mode that allows you to record the look, output the look downstream and review the look in split screen mode. You cannot burn in the AtomHDR or Log To Video modes. My understanding was that there would be an obvious switch in brightness between AtomHDR and the three other modes. In other words, you could either have 1500 nits of brightness or HDR view. However the reduction in brightness is not very apparent at all. In fact, under circumstances such as with super flat images, AtomHDR mode often looks brighter than Native Source mode! AtomHDR View in depth When I first read about this feature, the first thing that came to mind was “gimmick”. What sounds like some brand new exciting technology is, in essence, just a specific LUT that makes use of the high dynamic range of a log image on a 10-bit panel. Plugging in my Canon C100 Mark II and playing around, I struggled to see value in the new feature: it added too much colour and contrast, and it was really hard to gauge exposure. However, after further experimenting in this mode with S-log on the Sony A7RII, I’ve changed my mind. The Shogun Flame includes support for Arri, Sony, Canon and Panasonic log modes. For super-flat log profiles such as S-log, this is a very nice way to expose, view and shoot. C-log is less flat, making this mode less necessary. The mode adds vibrancy and contrast without comprising the dynamic range too much. This is a headache I regularly struggle with as an operator: view the log feed from the camera and put up with a super flat & ugly image, or convert it to Rec709 to see some contrast and accept that you’re not viewing all of your available dynamic range. Sure, you can go ahead and make your own custom LUTs that do this, but it’s nice to have a device that has done the groundwork already and has a formula that works for a variety of log formats. Watch Your Exposure There’s one fundamental feature that makes the AtomHDR mode a very useful viewing tool, and whose absence would make this mode a bit redundant. That is that the waveform monitor is not affected when switching between viewing modes. In other words, what you see on the waveform monitor is what you’re recording, not what you’re viewing. Exposing in AtomHDR mode should come with great caution: if you don’t know what you’re doing it is very easy to mis-expose. For example, let’s look at the Viewing Environment. While it seems to adjust the luminance of the screen in Native Video Mode, it works differently within AtomHDR, where it looks like a shift in mid point, creating the illusion that you are changing the exposure of the camera. The key is to use the waveform monitor. Expose in Native Source Mode using the waveform monitor first, then switch to AtomHDR and adjust your Viewing Environment until you’re happy with the luminance of the screen. Power Consumption and Implementation For me, the biggest drawback on the original Shogun was the combination of hungry power consumption and a single battery slot. In addition, I’ve found quite a few batteries that don’t sit snuggly on the battery mount. Conclusion: power is not so much fun on the Shogun. The Atomos Shogun Flame has two battery slots: instant win. They also feel sturdier, and I found little to no play with the batteries from my original Shogun. However, I assumed the increased brightness panel on the Flame and the inclusion of two battery slots would translate as greater power consumption on what was already a thirsty system. To test this, I conducted an unscientific experiment. Using my Atomos H2S, I sent the same test pattern signal to both 7” recorders, and set both screens to their brightest most modes. I attached two new batteries I’d bought from the same supplier at the same time (both fully charged). I then hit record simultaneously and left them running; the monitor with the longest recording would obviously have a better power consumption. I expected the Shogun Flame to be a good 30% worse in power consumption, but to my surprise, it cut out only 6 minutes earlier than the original Shogun. This was of course unscientific. There could be a small discrepancy between the batteries and so on, but if there were any glaring differences, I’d have been sure to have found them here. Also, the option to hot swap batteries on the Shogun Flame makes it a much better system, without any evident detrimental effects from the added brightness. One thing that hasn’t been addressed is that the monitor still gives the impression to be running out of battery long before it actually is. You get a red battery warning at around the 6.5 volts, which is unnecessary as you often have a lot longer than you think. It would be nice for the battery indicator to have an amber period to fix this: Green>Amber>Red. Build Quality Atomos made a point of stating that the build quality had been improved on the Flame line. The original Shogun does indeed feel delicate. I’ve handled a few different units over the years and each has had its quirks, with buttons not quite sitting straight, edges that are starting to split, or vents that feel vulnerable. The Shogun Flame definitely feels like an upgrade in this regard: it feels stronger and the vents are less exposed. The rubber edges are a nice touch also, although personally I really don’t like the garish yellow/red. I keep the frame of the hood on all the time, which adds protection and hides the yellow. It’s certainly not bulletproof. You can see exposed wires through gaps. In this regard, my SmallHD 502 feels like a step up in build for sure. Boot Up Time & Fan Boot up time for the Atomos Shogun Flame takes around 10 seconds, considerably more than the 2-3 seconds of the original Shogun. On boot up there’s also a loud fan noise, which drops to an almost inaudible level once the device is ready. It does, however, sound louder than the original. Other Features Having used Atomos products for so long it’s often easy to overlook the many features that are packed into these devices. So far I’ve listed features that make the Atomos Shogun Flame a standout upgrade to the original Shogun. However, if you haven’t used the previous monitor and are perhaps new to Atomos recorders in general, here are some of its handy features: HDMI/SDI cross conversion Trigger start/stop for various cameras 4K>HD down conversion Pull Down for Interlace to Progressive Conversion Pre-Roll Timelapse Timecode Config and retrieve from source Apple ProRes 422, LT and HQ Recording Avid DNxHD 220x, 220,145 and 36 1080 up to 120p 4K up to 30p Customizable Scopes (waveform, RGB parade, vectorscope, luma overlay) Customizable Peaking, False Color, Zebra, Focus Zoom Aspect Ratio Overlays, Anamorphic De-squeezes Metadata tagging Image flip, Display off when locked Custom LUT, Rec look and Send Look Downstream Accessories Like the original Shogun, the Shogun Flame package comes with an array of accessories, including hard drive caddies, USB 3 reader, charger, and AC cable. The hard case as standard is great; the Shogun Flame’s mandatory yellow colour… not so much. There are a few other changes; one is the inclusion of D-tap out as standard. This comes in the form of a lovely coiled D-tap to jack cable, which in previous incarnations was a separate dummy battery. The hood also comes as standard which is nice. And, most importantly, the charger is vastly improved. Whilst original Shogun users were moping about on the floor after a triple whammy of an ill-fitting, single battery that drains faster than you can drop an anvil, they were dealt with a killer blow with the charger. It replenished batteries in periods closer to days, not hours: it literally took days to charge large NP-F970 sized batteries. The new charger is much better; it displays a proper indicator and supposedly charges 3 times faster, although I reckon maybe even quicker. What I don’t like, however, is that it comes with a large and hassle-to-travel-with AC/DC convertor. I fixed this by simply buying an all-in-one plug adaptor with the same specs. Summary I think Atomos has done a fantastic job in updating their very popular 4K field monitor/recorder line. Previous problems mostly revolved around build and power, and these have been addressed as well as adding a great body of new features like 10-bit processing, AtomHDR and 1500-nit daylight viewing. I still think the format is fundamentally flawed; 7” is too big and heavy in most scenarios as an on-camera monitor. I would have loved to see the Shogun Flame and Ninja Flame in 5.5” form, and the Inferno in 7”. I think this would have made much more sense ergonomically (albeit more expensive to produce multiple panels). Beyond the fancy marketing, I think there’s definitely a use for AtomHDR in viewing a high dynamic range image that doesn’t look flat and boring. But just be careful with how you expose the image. I’d love to see the Shogun Flame alongside a SmallHD 702 in daylight. If you own the latter and are based in London, do give me a shout and we can compare. Shooting with the Shogun Flame so much over the last few weeks has laid good ground for a solid opinion, but there’s still a lot more to check out and cover. If there’s anything you want to know, please let me know in the comments below; I’m definitely keen to try out more log modes in AtomHDR.Read more
Atomos has announced its next generation of monitor recorders. The Atomos Shogun Flame and Ninja Flame arrive in a more robust, dual battery form sporting 1500 nits of brightness and new 10-bit processing. Slotting inline with the existing Atomos line up, the yellow branded Atomos Shogun Flame is the flagship model supporting SDI, HDMI & raw whilst the red branded Ninja Flame is the cheaper HDMI only version. So, what’s new with the Flame line? Daylight Viewable Display Atomos has jumped on the SunHoodsAreSoLastYear trend* and produced their first daylight viewable field monitor. We’ve seen this gain popularity with other monitor manufacturers; it’s nice to see this feature pop up in a field recorder also. Both Flame monitors will feature 1500 nits of brightness. Before you all grab your nit meters, for reference the SmallHD 702 is 1000 nits and the SmallHD DP7-PRO High Bright is 1500 nits. *A daylight viewable feature is not something that should replace the conventional sun hoods,, just another tool to add to the box, particularly where sun hoods are impractical (when using a gimbal for example) 10bit processing is also now supported. This is an upgrade from the previous 8 bit panels used on the Atomos Shogun/Ninja Assassin and will help with a more accurate display and less banding. Please note, this does not increase the bit depth of your 8-bit camera to a 10 bit one. AtomHDR for Log Recording Announcement of the Flame monitor/recorders brings a brand new feature from Atomos. AtomHDR offers a new a way of viewing log footage. “Activate AtomHDR to resolve the brightness detail of Log camera signals with the color accuracy of HDR images mastered in post production. This means that the usual complications of exposing Log signals on a washed out image (i.e. LUTs for LOOK management but compromise on detail or complicated calibration card and “rule of thumb” calculations) are eliminated – you simply frame, expose, focus and shoot.” This sounds like a new viewing platform for log recording that operates in a similar way to a conventional LUT, using the benefits of the high dynamic range capture of log and the 10 bit processing of the panel to produce polished looking images on-set, rather than simply converting the image to an existing standard like rec 709. Sounds like this could be a very handy feature for client viewing and, if you learn how this translates to the finished look in post would also be a very good tool for gauging exposure & focus. Nino had an exclusive presentation of the Atomos Shogun Flame and Ninja Flame at BVE and this does indeed look like an interesting feature: “The AtomHDR feature looks brilliant – it seems a perfect way of displaying the full latitude of LOG footage while actually recording, and this is something I haven’t seen before. It’s a very smart way of using the potential of a high brightness display other than simply being able to have a brighter image when shooting in bright sunshine. You basically see all the detail that is recorded in a LOG image while not having to look at a very grayish image any more, it looks like a properly finished image if you want it to, applying the LUT you want.” S-log 2, S-log 3, C-log and V-log are listed immediately as supported as well, expect a few more regulars to be added to that list too. Footnote: It looks like AtomHDR and 1500 nits of brightness will be available as separate features (e.g you won’t be able to view AtomHDR at full, daylight viewable brightness). Enhanced Powering Solutions The Atomos Shogun and Atomos Ninja Assassin both had a single Sony NP-F battery slot on the back. Speaking from experience of shooting with these monitors it was a little disconcerting to say the least (The Atomos Shogun is thirsty beast). The new Atomos Shogun Flame and Ninja Flame now support two battery slots and you’ll be able to hot-swap allowing continuous battery power. What’s more, included in monitor packages is a “coiled DC to D-Tap cable for connection to larger battery systems” as a self confessed cable nerd I love the sound of this. More Robust Form The Atomos Shogun Flame and Ninja Flame will feature a built in bumper design. This offers more protection over the previous naked 7″ panels. An add-on bumper kit was added to the Atomos Shogun and Ninja Assassin, but I felt these were a little clumsy in design; it’s great to see a more robust in-built clad that will no doubt increase the lifespan of the Flame duo in the field. DC in for both Flame models has been relocated to the rear in a much safer, recessed location. The Shogun Flame BNC ports (SDI in/out and sync) are arguable more recessed also. What’s Not New There are many key features that translate from the older Shogun and Ninja Assassin recorders that aren’t classified as new, but if you’re not familiar with Atomos products then may be of great interest to you. 10 bit Apple ProRes (422,LT,HQ) and Avid DNxHD (36,145,220,220x) 1920X1080 up to 50/60p 4K up to 30p Records to approved, universal SSD drives via cheap caddies. Customisable focus aids – Peaking, Focus Assist, False Color Customisable exposure aids – Waveform, Zebras, RGB Waveform Image Flip, Crop/Centre/Safe Margin Overlays, Anamorphic De-Squeeze Metadata tagging for editor notes (favorite/reject etc..) LUT support including custom load and send downstream SDI/HDMI cross conversion (Shogun Flame only) As an operator, I have vast experience in Atomos recorders having owned the Atomos Shogun and Ninja Blade for years and tried out all others within the line up. I think the new Flame line looks great. One of the big drawbacks for me with the original Atomos Shogun was the power solution – it was far too thirsty, the charger was exceptionally slow and a single battery slot meant you couldn’t hot swap batteries. The dual battery slots was a much needed upgrade, you can now get continuous power even if they don’t improve the consumption, what’s more the new Flame recorders will ship with a x3 faster battery charger, nice. I’m not a huge fan of completely migrating to a 7″ panel across the line. My feelings were the same when the Ninja Assassin was announced. The Ninja Blade is a fantastic on-camera form factor with its 5″ display; it’s a shame to not see this with the Ninja Flame, especially as it’s marketed at DSLR and mirrorless systems. I can only assume the costs for designing two completely separate panels were not worth it. I’ll warmly welcome the daylight viewable display; this was a feature I’ve been looking for a while (particularly gimbal work where a hood is not practical) as well as AtomHDR, which I think will be fantastic for client viewing at the very least.Read more
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