Convergent Design has announced its latest firmware update, which they’re billing as their most significant yet. Users of the Apollo, Odyssey7Q+, Odyssey7Q, and Odyssey7 will benefit from 23 new features including dual SSD recording for redundancy, 3:2 pulldown removal & A/V Align for syncing different camera sources, Sony FS5 Raw support, Live Switch Dissolve transitions and Eight-Channel Audio recording. Convergent Design has been providing some of the most widely used external in-field recorders/monitors for some time. Their Odyssey7 line has proved very popular with camera operators (particularly those using Sony systems) and their more recent Apollo Recorder has pushed them into the compact multi-cam recorder sector (check more info on that here). This latest firmware update brings a host of new features to their in-field recorders. We’ll highlight the key updates and you can check out a more comprehensive list and the bottom of the page. Apollo Double Master Recording You can now utilize the double slots on the Convergent Design Apollo to capture files to two SSDs simultaneously for an instant backup. Apollo A/V Align Each camera has slightly different latency from another. This feature will compensate the difference in signals from multiple types of cameras to keep your video and audio in sync. 3:2 Pulldown Removal Despite capturing in progressive, many cameras will output signal via an interlaced stream, a 3:2 pulldown is widely used here and converts the signal to a progressive source for recording. This new removal feature will allow such signals to intermix with native 24p feeds, meaning a wider range of different cameras can be used in a multi-cam configuration. Live Switching Dissolves This feature adds 3 different speeds of dissolves in live switching on the Apollo. Shortcut button access allows alternating between cuts and dissolve edits. Eight-Channel Audio Eight tracks of audio have now been added per SDI video input. This is available for all Odyssey and Apollo recorders, the latter in Dual-4K and Quad-HD configurations meaning a total of 16 and 32 tracks respectively. Sony FS5 Raw Support Odyssey 7Q and Odyssey 7Q+ now get support for Sony FS5 RAW. You can record in CinemaDNG or Apple ProRes. 4K60p, 2K240p, and up to a 4K120p burst. IO Flare 4K Raw Support Similar support is added for the IO Flare 4K. You can now record in CinemaDNG, 4K60p on the Odyssey 7Q and Odyssey 7Q+ with this camera. Convergent Design Apple ProRes Transfer Tool v2.4 The existing Apple Transfer Tool from Convergent Design allows users to add XML files and stitch two native files together ready for the edit. Version 2.4 adds a few features and bug fixes, most excitingly for Apollo users with multitrack files; select which tracks to transfer, offload a Live-Switch or Quad-Split instantly to then later offload all of the files. Convergent Design has clearly been busy maintaining their product line of recorders; it’s great to see companies preferring this over phasing out existing lines by bringing out new products every year. FS5 users will certainly enjoy this update. Like the FS700 before it, Convergent Design has unlocked the RAW aspect of the camera giving us a constant 2K 240fps feed, along with continuous 4K 60p recording and 4K 120 burst modes. The update brings many bug fixes and a small update also, check out the full list here.Read more
The Sony FS7 Firmware 3.0 was initially announced for December 2015 and had been postponed. Finally, it has just been released. This is a major firmware update that brings a few important new features to the camera. It also fixes a bug that affected the quality of the Sony FS7 RAW output that cinema5D found in November 2015. When Sony’s FS7 Firmware Update 3.0 was announced the improvements many FS7 owners were most looking forward to were: 1. An adjustable centre scan magnification (which was restricted to the centre of the image before V3.0), 2. “super16” crop mode in 2K resolution and 3. a noise reduction option in CineEI mode. (More details on these features in this article.) Sony FS7 RAW Issues Fixed Two months ago we found several issues affecting the output of the Sony FS7 RAW signal when used with Sony’s XDCA extension unit. The engineers at Sony acknowledged the two issues we had found, and it’s a good sign to see that Sony takes such issues seriously, as they implemented a fix in the FS7 firmware update 3.0 released today. The issues we saw prior to today’s firmware update were: Frame drops when shooting at 200fps (PAL) and lower than expected bit depth, affecting the dynamic range of external recordings. Read all about these issues HERE. We had a chance to test a version of the firmware in early January, and we can confirm that the issues are no longer present. The frame drops are fixed, and processing has been improved so the RAW images look more natural and we could see a higher bit depth. However, we also found that the bit depth is still lower at high frame rates (e.g.: 240fps RAW). This is due to the limited data rate that can be put through a single 3G-SDI cable. Thus dynamic range on internal recordings (XAVC) remains slightly higher. There are a few more small inconsistencies affecting the RAW output that Sony have acknowledged and are working on to address in future firmware updates of the Sony FS7. Sony FS7 Firmware 3.0 Features Focus Magnification function is improved. Support for magnification area position adjustment. Magnification resolution improvement. Support for “2K Full”, “2K Center” setting in Image Scan Mode. Support for Interval Recording function. Expand lowest value of Zebra level to 0%. Support for Noise Suppression setting in Cine EI mode. Video Signal Monitor usability is improved. The operability of “Iris setting” using the “Iris dial” and the “assignable dial” is improved. FS-RAW image quality and operation stability improvement. Both the overall stability and operability of the camera are improved. Note: We also found that responsiveness of the menu has been enhanced. This last point is certainly a welcome improvement for all Sony FS7 owners who were unhappy the menu speed. Download the Sony FS7 Firmware 3.0 HERE Note: It is generally not recommended to update camera firmware if you’re in the middle of a project.Read more
Convergent Design has announced an interesting new recorder that offers a very compact solution to multicam recording workflows. The Apollo takes the same form factor as the popular Odyssey 7Q and 7Q+, offering up to 4 channels of recording from 4 separate sources, with a final 5th channel as a multicam TX or quad recording. This will condense a lot of multicam users hardware. The Apollo is a switcher, ISO and TX recorder; it has the ability to record up to 4 ISO (isolated camera) channels, switch between the 4 as well as recording to a final channel TX (transmission record) or a quad-split reference view. You’d be forgiven for mistaking it for the Odyssey 7Q/7Q+ recorder, the Apollo uses a similar 7.7″ OLED touchscreen display, dual proprietary SSDs and a host of camcorder battery plates as well as an AC adaptor; all these features contribute to keeping the form factor small and compact. Here’s from the Convergent Design press release, bold highlights by me: “Field producers can take it on location, record from any four HD cameras, view a quad-split playback on the way home and drop all four cameras in perfect sync into a single timeline to dive immediately into an edit. Reality programs shot in cramped cars with tiny cameras can slip Apollo in the glove box or under a seat. A concert performance can be captured by recording four camera ISOs along with recording a Line Cut that can also be sent to a large live display at the venue. Live-streamed events can be covered with four-camera switching without having to bring in a large flypack. Apollo can also be used as a secondary recorder/monitor; using our battery & wireless video receiver bracket makes for a great handheld Director’s Monitor. And Apollo’s advanced built-in Image Analysis tools can be used to match the cameras during setup. Apollo addresses many modern multicamera field production needs in a single 1” thick device.” Good new for Odyssey 7Q/7Q+ owners also, around the same time of release you’ll be able to pay for an upgrade that will enable you 7Q/7Q+ recorders to have the same multicam features of the Apollo. Doing a lot of work in Live Events in the past I can see great use of the Convergent Design Apollo in multicam scenarios. It maybe considered one of those nervy steps where you’re putting all your faith in one piece of hardware (ISO, TX and switcher). However you usually always have in-camera recording too that can serve as your backup; the Apollo has a feature enabled where it will keep recording other channels even if one drops out. Post work time can be reduced. Not only will you be supplied with a ProRes TX recording but also a multicam sequence synced and ready for editing can be supplied via an XML EDL file. I question its use as a functional mixer; cutting critically between shots is never ideal as a touchscreen interface. Not a lot of information is in the press release discussing this feature, however a second quarter 2016 update brings a “Remote keyboard control pad” which I hope is a form of hardware that links to the Apollo to offer physical buttons for mixing. Speaking of future updates, the Apollo will be 4K enabled up to 2 channels of recording early next year, as well Avid DNxHD support and Cascade Interconnect, linking up to 3 Apollos for 12 channel HD/6 channel 4K workflows. Specifications for the Convergent Design Apollo Recording HD video recording, up to four signals simultaneously 1080p24 / 1080p30 / 1080i60 / 720p60 (60hz territories) 1080p25 / 1080i50/720p50 (50hz territories) Apple ProRes HQ/422/LT Record four HD signals and one quad-split view Record four HD signals and one live switch Up to four SDI inputs or three SDI & one HDMI Embedded audio or analog input Loss of any signal does not interrupt recording of other channels Apollo Media Manager App outputs four separate files or one master multi-camera QuickTime for simplified post Dual SSDs allow spanning (long record time) or mirroring (simultaneous backup) 3.5 hours recording time at highest quality [2TB of 4x HD signals & live switch, 1080p30, Apple ProRes 422(HQ); 8.5 hours in Apple ProRes 422(LT)] Switching/Monitoring No Genlock required Touchscreen interface Monitor outputs for switched or quad view Two SDI outputs, one HDMI output Preset or Custom Monitoring LUTs Image Analysis tools: False Color, Focus Assist, Histogram, Pixel Zoom, Spot Meter, Vectorscope, Waveform, and Zebra 7.7” OLED panel for true blacks and accurate colors Other 7.9”x6.1”x1” / 20×15.5×2.5 cm 1.2lbs. / 560g Under 20w power draw, 6.5-34v with battery mounts available Two 2.5” SSD slots (Convergent Design SSDs or qualified 3rd party models) Magnesium case / Gorilla Glass cover / stick-on/peel-off screen protector No fans or vents The Convergent Design Apollo should start shipping December this year. The manufacturer’s list price is $3995, which includes an SSD to USB3 adapter, 5-pack of SSD mounting handles and a universal AC power supply. Owners of the Convergent Design Odyssey 7Q and 7Q+ will be able to purchase an Apollo Option for their devices as an upgrade for $1795.Read more
At NAB in April Sound Devices / Video Devices surprised us when they announced their version of a 4K disk recorder, the PIX-E5 Series. Now, a few months later, the new device is in our hands and we’re sharing a first look in this exclusive Video Devices Pix-E5 Review. Many thought this would be the best 4K recorder. But is it? In this review we will check out the Pix-E5’s most important features, see how it performs and look at its limitations. First let’s see what the Video Devices Pix-E5 has to offer: Video Devices PIX-E5 Review The Video Devices PIX-E5 is a heavy duty disk recorder with a bright 5″ display and a native 1080p resolution. While it’s capable to record 4K up to 30p and has SDI and HDMI inputs and supports numerous formats, it is at the same time designed to be compact! This compactness paired with a very low price is the PIX-E5’s main selling argument for us. The recorder is also available as a more affordable hdmi-only version called PIX-E5H. Mounting We equipped our Sony A7s with the Video Devices PIX-E5. To mount it we used one of the hot-shoes of the Varavon Armor II a7S Cage, our favourite cage in our recent cage review. With a good Novoflex ball-head and hotshoe adapter the PIX-E5 is locked to the cage well. I must admit the PIX-E5 is heavier than expected. With a weigt of 700g including the 2 batteries it’s still not ideal to mount on top of a Sony A7s that weighs a little more than half of that. But with a good ball-head it should be solid enough to work on a tripod in most cases, certainly better than larger and heavier disk recorders out there. The PIX-E5 comes without a case, battery and any other accessories. The convenient flight-case with batteries and storage has to be bought separately and costs another $1.100. The Video Devices PIX-E5 is quite affordable at only $1.395, but that accessory package can really change the perspective. Alternatively you can just get all required items separately. A basic package will cost $393 (see the end of this article for a complete list of what to get). Build Quality In terms of build quality the Video Devices PIX-E5 is the most solid disk recorder I’ve ever touched. As such I find it is definitely “fit for rentals”, meaning it can withstand some treatment. The die-cast metal chassis is robust and all other parts fit so well, it feels like the whole device is built from a single block, including the batteries and SSD that are securely locked in place. The metal jog wheel and menu buttons give this recorder the analogue edge over anything else out there in terms of build quality. Operation The Video Devices PIX-E5 has a lot of options, but feels quite easy to use in terms of operation. Once you have understood the basic concept of the system menu, alternative button assignments and audio menu, you’re basically set. It only takes a few minutes to learn. The PIX-E5 has all the important information conveniently placed at the edges of the high resolution screen. All the basic overlays like false-color, zebra, peaking, waveform, vectorscope and histogram can be activated via the function buttons at the bottom of the screen and values can be adjusted with either the jog wheel or a long press on one of the function buttons. Even though everything can be controlled via the buttons and jog wheel, the PIX-E5 also has a touchscreen that helps speed up operation even more. For example when you tap on the screen you get a 200% or 400% zoom and you can move around the picture by simply dragging your finger across the screen, much like on any mobile device nowadays. Operating the PIX-E5 is easy and intuitive, so that’s another big plus. The only thing to criticise here is that some of the overlays appear pixelated and have a stuttering motion to them which makes the whole experience less smooth. A negative thing we noticed was that triggering recording via HDMI is not possible at this time, at least with the Sony A7s in 1080p it isn’t. (Update: The PIX-E5 now also features rec-trigger with the newest firmware.) There is a dedicated menu for sound recording. Here you can record up to 8 tracks and assign each one to a different input with a dedicated gain setting. This solution is very nice and makes this recorder perfectly laid out for a more professional approach to sound recording. Of course you will only get professional XLR inputs via the optional XLR Audio Interface which wasn’t available at the time of the review. Even without the audio interface we could use one of the stereo input jacks’ channels to route our wireless mic into and assigned the camera’s HDMI audio stream to the second channel. The monitoring volume can be set via the jog wheel. It’s all really well thought through and it feels like a reliable device not only for video but for sound as well. Battery Life The PIX-E5 accessories package comes with two large L-Series batteries. We didn’t use those batteries, instead we went for the smallest and lightest Sony L-Series Batteries we had to see how long the recorder lasts. The Video Devices PIX-E5 has two battery slots, but only requires a single battery to operate. When one battery runs out it switches to the other without interruption. You can also remove either one of the batteries in the middle of the recording. That’s convenient. When a battery is about to run out you get a warning about 10 minutes before shutdown. You get a second warning 10 seconds before shutdown and at the same time all recording is stopped. So basically it’s really hard to lose a recording with this device. It all seems rock solid. The single small Sony L-Series Battery ran a 1080p recording in ProRes 422 for 35 minutes. So with two batteries you should be able to do more than an hour of recording. Not too convincing battery life, the Atomos Shogun is a little less energy hungry there. Storage The PIX-E5 comes without any storage out of the box. You can either get a Video Devices Speed Drive 240GB for $250 or only buy the Speed Drive Enclosure for $59 and a Samsung 850 EVO mSATA drive 250GB for $99. The enclosure comes with a small screwdriver so you can upgrade the storage capacity at any time. These Speed Drives are the most ingenious storage solution I’ve seen. As you can see they are quite affordable, upgradable and at the same time they are compact and offer high speeds. Another advantage of this Video Devices invention is that the Speed Drive becomes a USB 3.0 stick once it’s unplugged from the PIX-E5. So there’s no need for a card reader or disk reader. You just record and then plug that drive into your computer and that’s it. It’s fast, it’s affordable and it’s as easy to use as it gets. Fantastic. Fan & Heat The PIX-E5 has a fan and it’s not exactly silent. It’s not annoying either, but it’s certainly too loud for shoots where audio is critical. That said the fan turns off during recording unless you disable that feature in the system menu, so it’s not an issue. The recorder itself produces a lot of heat. After a few minutes the device is so hot that you can’t touch it for too long. Video Devices explained that the recorder dissipates the heat through its metal case and that’s why it’s getting so hot, but users shouldn’t be concerned. Ok, so it gets hot. This could be a downside in some situations, but I guess it’s the trade-off for it being so compact and silent during recording and it’s something most people will simply accept, even though it is a little irritating to be honest. Recording Options The Video Devices PIX-E5 offers all flavours of Apple ProRes. You can get the lowest quality and smallest files with Apple ProRes Proxy (8-bit), but also work with the new Apple ProRes 4444 XQ (12-bit) codec for the highest data-rate (500 Mbit/s at 1080p). In terms of formats the PIX-E5 can do: HD 720p, 1080i, 1080p: up to 60 fps [UPDATE firmware Dec. 2015] up to 120fps in 1080p (HDMI Only) UHD 3840 x 2160 (HDMI Only): up to 30 fps 4K 4096 x 2160 (HDMI Only): up to 30 fps [UPDATE firmware Dec. 2015] 4K via 6G-SDI (currently only supported by Blackmagic URSA) Here we can see the limitations of the device. There’s no 4K via 3G-SDI, and no high frame-rates. Last week the Odyssey 7Q got an update and is now capable to record 4K ProRes files in 60p via SDI and even does 240fps at 1080p. This is where the PIX-E5 falls behind. [UPDATE firmware Dec. 2015] With the new firmware update there is now 120p slow motion for cameras like the Sony a7S. Another limitation in terms of recording options is that the PIX-E5 can only record the formats it receives. So if a 4K HDMI signal comes in, you cannot record it in 1080p. There is no internal format conversion. And talking of limitations at this time the Video Devices PIX-E5 unfortunately cannot handle the 12-bit (RAW) streams coming from the Sony FS700 and Sony FS7 (with the extension unit). All this might change with future firmware updates. Video Devices is known to take good care of their products and to add more features down the road. They do not disclose future firmware features and told us they prefer to take time to get things right and then surprise people. [UPDATE firmware Dec. 2015] By now Video Devices has released several updates for the PIX-E5 and PIX-E5H recorders to make them more feature rich. Other noteworthy improvements include: rec trigger anamorphic desqueeze for cameras like the Panasonic GH4 120fps slow motion via hdmi custom LUT support in .cube format and many more. You can see a list of all firmware related advancements here Which accessories do I need for the PIX-E5? As mentioned earlier the Video Devices accessories package is a little expensive. Instead I’d recommend to buy all items separately. Here’s a basic package you could get: Speed Drive Enclosure $59 Samsung 850 EVO mSATA drive 250GB $99 PIX-E Flight Case $145 2x Sony L-Series Batteries $70 Battery Charger $20 This is really the basic stuff. This package costs $393 on top of the recorder itself. If you want to be prepared you should get at least: A second Battery Charger $20 2 more Sony L-Series Batteries $70 A second Speed Drive Enclosure $59 A second Samsung 850 EVO mSATA drive 250GB $99 If you don’t already own it also get a good mounting solution like the Novoflex ball-head and hotshoe adapter we used, or even a larger ball-head and 1/4″ solid mounting point. Also a good HDMI cable and larger batteries could come in handy. For a list of other mSATA drives compatible with the Speed Drive Enclosure, check Video Devices’ approved media page. Conclusion In this Video Devices PIX-E5 review we took a close look at the new 4K disk recorder on the block and we found it comes with some very nice features that we wouldn’t want to miss anymore. The rock solid build quality and design ideas, the perfect storage solution and convenient operation all make this recorder a top recommendation. Unfortunately there are still some limitations in terms of recording formats that we hope Video Devices will address in the future. At this time you cannot record 4K via 3G-SDI or tap into the 12-bit RAW outputs on the Sony FS7 and FS700. For people looking for a great HDMI disk recorder to get 4K out of the Sony A7s, look no further. At this time the Video Devices PIX-E5 and PIX-E5H (that only does HDMI and costs $200 less) seems to be the best option to get 4K out of the A7s conveniently. But in terms of its SDI functionality the PIX-E5 certainly needs improvement. Check out PART 2 of this review, a comparison to the Atomos Shogun HERE. Pro’s: High quality bright 1080p screen Silent (fan is disabled during recording) Rock solid build quality Great ergonomics, design and operation Great sound controls and input options Affordable storage media Good battery life Essential monitoring overlays are there (histogram, zebras, etc…) Modest price Cons: No 4K via 3G-SDI Doesn’t recognise 12-bit SDI outputs (FS7 & FS700) Gets very hot Monitoring overlays aren’t “smooth” and a bit pixelated (see detailed explanation under Operation) Avid DNxHD codec missingRead more
Convergent Design announced a firmware update for their Odyssey7Q and 7Q+ recorders which enable continuous high speed ProRes recording in 4K, UHD and HD, at 60p (in 4K/UHD) and 240p (for HD). The free firmware update can be downloaded from their site but requires the optional Odyssey RAW bundle to work. Right now, the Sony FS700 and FS7 (only with the XDCA Extension Unit) are supported, but additional cameras will be added in the future. The update also includes RAW support for the new Canon C300 Mark II, enabling 4K and QHD RAW recording from the camera, at up to 30p. In this video, Convergent Design shows how to set up high speed ProRes recording: Here’s the full feature list of Odyssey firmware v2015.8: NEW FEATURES (Odyssey7Q+) Canon XC10 Support UHD Apple ProRes 23.98p, 25p, 29.97p UHD->HD SuperSample to Apple ProRes 23.98p, 25p, 29.97p (Camera trigger & HDMI timecode in HD Only) NEW FEATURES (Odyssey7Q+, Odyssey7Q) FS7/FS700 High Speed RAW -> Apple ProRes Support* [MORE INFO] FS7/FS700: 4K RAW -> 4K Apple ProRes, 50p & 60p added 4K RAW -> UHD Apple ProRes, 50p & 60p added 2K RAW HS -> HD Apple ProRes, 100p, 120p, 200p, 240p (Only one SSD can be mounted for recording 2K HS Apple ProRes) (Only Odyssey int. TC supported (Seed, Time-of-Day DF & NDF) FS700 only: 4K RAW Burst -> 4K Apple ProRes, 100p & 120p 4K RAW Burst -> UHD Apple ProRes, 100p & 120p (*Requires Odyssey RAW Bundle or Sony FS RAW Option) Canon C300 MKII RAW Support 4K RAW recording up to 30p QHD RAW recording up to 30p 4K RAW -> 4K Apple ProRes up to 30p QHD RAW -> UHD Apple ProRes up to 30p (*Requires Odyssey RAW Bundle or Canon RAW Option) NEW FEATURES (Odyssey7Q+, Odyssey7Q, Odyssey7) Vectorscope Analog or Digital Trace Trace display in green or color (true CbCr) Variable Zoom 1.0x – 15.0x (Finger Drag left-right) Zoom Presets 1,2,5,10,15x (Finger Drag up-down) FIXES & IMPROVEMENTS FIXED Audio issues in 1080i59.94 playback FIXED 4K to 2K/HD Downscale Line at the bottom of image. IMPROVED Color Bars IMPROVED Odyssey Menu FontRead more
Convergent Design has released a recorder that will compete nicely with the Atomos Shogun. The Odyssey 7Q+ is a 4K raw recorder, with the addition of a HDMI input for direct compatibly with cameras like the Panasonic GH4 and Sony A7S. The Odyssey 7Q is a compact solution combining advanced recording abilities over SDI with a 7.7″ OLED screen for monitoring. The Odyssey 7Q+ offers exactly this, but with a HDMI input also. Check out the below video released by Convergent Design discussing the wide capability of Odyssey 7Q+. The down conversion of a signal is a nice touch; on smaller budget shoots sometimes not every component is 4K compatible. Having the ability to record in 4K but output FullHD will help in these workflows, a perfect example of this is displayed in the above video where you want to record drone footage in 4K, but send a wireless signal in 1920X1080. The ability to apply LUTs to your image whilst recording in raw/log is great; not everyone on set will know how to determine a log image, having the ability to supply an image in the ballpark of a finished result is much more pleasing to clients. The Odyssey 7Q+ has the ability to record 4K images up to 60p, and 2K images up to 120p. The purchase of the device includes ProRes capture of up to 30p in 4K, and 60P 2k/1080. The former mentioned higher frame rates are unlocked with an additional software purchase/hire. This is worth noting with the 7Q+, like all Odyssey recorders only certain features are included in the initial purchase, this along with proprietary media can significantly add to the overall cost of your package, so factor this into your purchase. Here is a list of the included features and available paid upgrades: Included Recording Options Compressed Formats: 4K/UHD 10-bit YCC 4:2:2 up to 30fps in Apple ProRes 422 HQ 2K/1080p 10-bit YCC 4:2:2 up to 60fps in Apple ProRes 422 HQ 1080i 10-bit YCC 4:2:2 up to 60i in Apple ProRes 422 HQ 720p 10-bit YCC 4:2:2 up to 60fps in Apple ProRes 422 HQ Uncompressed Formats: 2K/1080p RGB 10/12-bit 4:4:4 up to 30fps in DPX file format 1080p RGB 10-bit 4:4:4 up to 60fps in DPX file format Record Options for Purchase or Rental ARRI ALEXA ARRIRAW (16:9) up to 60fpsCanon C500 4K (4096×2160) RAW up to 60fps UHD (3840×2160) RAW up to 60fps 4K “Half-RAW” up to 120fpsSony FS RAW 4K RAW up to 60fps 4K RAW 120fps burst 2K RAW up to 240fps “4K24K” 4K RAW to 4K Apple ProRes 422 HQ up to 30fps “4K2HD” 4K RAW to HD Apple ProRes 422 HQ up to 60fps POV RAW POV 2K 10-bit RAW POV HD 10-bit RAW POV HD 12-bit RAW Note: ARRIRAW above 30fps, Canon RAW 50/60fps, and Sony FS 2K RAW 200fps and 240fps require two SSDs And here is a list of the key features of the Odyssey 7Q+ 7.7″, OLED, 8-bit, touchscreen panel 1280×800 resolution Intuitive touchscreen interface 3400:1 contrast ratio, true blacks HD/2K/UHD/4K recording over HDMI or SDI 2x 3G-SDI inputs, 2x 3G-SDI outputs, 2x bi-directional inputs Supports Single, Dual, and Quad Link formats HDMI input: up to 1080p60 4:2:2, up to 30 fps in UHD (3840×2160), and up to 24 fps in 4K (4096×2160) HDMI output: up to 1080p30 Output downscaling 2 channels of embedded audio, 48kHz, 24-bit ARRI, Canon, and Sony LUT Support Image analysis tools (Waveform, Histogram, False Color, Focus Assist, Zebras, Pixel Zoom) The Odyssey 7Q+ is available for pre-order now, and is likely to ship before the end of the year. At $2295.00 it is more or less in the ballpark of the Atomos Shogun. Although as stated earlier, media and additional firmware support will significantly up the price (albeit with more peripherals, so pick the package that suits you best).Read more
Convergent Design has announced a significant firmware upgrade to the Odyssey 7Q raw recorder enabling 4K ProRes 422 HQ recording for a variety of camera formats. The update will bring the Odyssey 7Q 4K ProRes support for cameras such as the Sony F5, Panasonic GH4 and Phantom Flex4K. It will also enable a new 4K raw mode for the C500 and FS700. This new record mode will take the 4K raw output of your respective camera setup, and convert it to an Apple ProRes 422 HQ at 4K resolution. Whilst raw is great in many regards, in certain workflows the large file sizes can be detrimental. Apple ProRes comparatively will offer a much more compact size whilst maintaining a high quality image and robust codec. The new update for converting 4K raw into Apple ProRes 422 HQ will be a free update to users whom have already paid for the standard 4K raw feature (or just a paid update for first time buyers/upgraders), and will be available later in the month.Read more
We only send updates about our most relevant articles. No spam, guaranteed! And if you don't like our newsletter, you can unsubscribe with a single click. Read our full opt-out policy here.