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Recording Posts

I had a chance to chat with Pamela Berry from Atomos about new firmware for their Shogun Inferno monitor/recorder as well as an exciting new product. Atomos recently released a free firmware update for their popular Shogun Inferno enabling all supported RAW formats to be saved in CinemaDNG format, preserving the RAW context of the files all the way through post, if required. Previously, supported RAW camera signals had to be debayered to Apple ProRes or Avid DNxHR format for recording. Currently CinemaDNG recording is supported for the Sony FS5, FS7 and FS700, the Canon C300 Mk II and C500, and Panasonic VariCam LT.

Other “big” news is Atomos’ new Sumo monitor/recorder. Sumo provides the same functionality as the Shogun Inferno, but built into a 19” HDR production monitor, an interesting evolution of the monitor/recorder. Generally, all previous products in this category were meant to be mounted on a camera, but the Sumo is clearly the type of device that belongs on its own stand or on the DIT cart. It also features quad-SDI inputs, which can be configured to receive quadranted 4K from cameras like the Panasonic VariCam 35 or four separate 1080p signals, which can be recorded simultaneously or live switched (with the live cut recorded as well). The Sumo also features balanced full-size XLR inputs with phantom power and two four-pin power inputs allowing relay power and hot-swapping. It also features a dedicated calibration input configured to work with the popular i1Display Pro from X-Rite. Watch the video above to hear more about this exciting new offering from Atomos.

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You may remember our previous blog post about the release of the Titan HD Extract option for Convergent Design’s Apollo and Odyssey monitor/recorders. Titan allows multiple HD-resolution windows to be captured as distinctly framed shots from a single camera shooting in UHD 4K (3840×2160). 1920×1080 windows are supported at up to 30p; 1280×720 for 50p and 60p. The full 4K image is subsampled to 1920×1080 resolution along with two user-set frames that can be selected on the touch screen. A fourth 1920×1080 stream can be captured as either a quad split or a live switch of the three “shots.” With this setup, Titan delivers ISOs and a switch cut to the same drive. In the video above, I will show you how to set up a project and extract each video stream on the post side.

To purchase or rent Titan, visit Convergent Design’s site.

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The Panasonic VariCam LT offers a legendary look in a compact digital cinema camera. Combining the VariCam LT with the Convergent Design Odyssey 7Q+ recorder opens up the ability to capture Raw files. In this blog, I explore how to set up both the VariCam and the Odyssey in order to capture in Raw. The VariCam outputs Raw files in either 12 bit or 10 bit, requiring single and dual-link SDI connections,  so I step through both of these scenarios. After setting up the camera, I went out and shot some test footage in both 10 and 12 bit. I then took the footage into DaVinci Resolve for finishing. Check out the video above to learn more.

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Sony recently announced the AXS-R7 recorder for their F5 and F55 cameras. The new AXS-R7 is a robust dual-slot RAW recorder that enables recording up to 120 fps in 4K on the F55. At 120p, you’ll need one of two new AXS media cards. Available in 1 TB and 512 GB capacities, these cards can support sustained read and write speeds of 4.8 Gbps, delivering 44 minutes at 59.94p or 22 minutes at 120 fps (1 TB version). The dual-slot recorder also accepts current AXS media, but the new cards are designed to support the write speeds required for 4K RAW 120 fps.

In addition, the R7 now also enables Cache (buffer) Recording in RAW at 23.98p for up to approximately 30 seconds. With the recorder, the F55 and F5 will both get this feature, which is great for wildlife and documentary production where you never know what you are going to miss. Watch my video above to learn more about the R7 and also the new firmware, version 8, for the F5 and F55.

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The Lexar Professional Workflow hub, the HR2, is quite possibly the product editors and DITs have been looking for for years.


The HR2 hub is designed for complete customization, with four open bays accommodating a variety of card readers and storage drives. This allows the user to offload and backup footage and other files from multiple memory cards at once. While the HR2 was designed primarily for a home or office desktop workstation, the individual readers and drives can all still be used independently of the hub for maximum portability whether in the field, or on set. Because there aren’t any software or drivers to accompany the HR2, the system will have no problem integrating into your workflow already in place, including industry standard software like Silverstack and ShotPut Pro.

The HR2 utilizes Thunderbolt 2 technology, and allows for concurrent transfers from all four bays for quick transfer speeds. The readers and drives themselves all feature USB 3.0 for stand-alone usage, utilizing USB type B ports for their large and robust connectors that allow the modules to be inserted into the bay without worry of damaging contacts. The hub itself features a USB 3.0 port as well as two Thunderbolt 2 ports so that you can daisy-chain the other components of your system together.  Thankfully, the unit is also backwards compatible with both Thunderbolt and USB 2.0.

This hub will easily find a permanent home at your workstation. By utilizing the bay structure, you can eliminate a large amount of cable and clutter, allowing you to stay organized. Unfortunately, the device is not bus powered and includes an AC power supply, however, the two cables needed for this system can free you up from the web of cables typically required by multiple readers and storage drives. The modular design allows for ultimate flexibility in offloading media – whether you find yourself capturing XQD media from an FS7 one day, or handling the CFast 2.0 card from an AMIRA the next day, you’ll always be well equipped for the job. This modularity also future-proofs the system, as Lexar adds new card formats and readers to their offerings, you’ll be able to swap in the new components and continue working.

To learn more about Lexar’s HR2, visit their Professional Workflow products FAQ page.

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Lexar CFast 2.0 cards have become a popular choice with our customers. Their Professional 3500x and 3600x cards present a great combination of performance, reliability and value.

Lexar_Pro-CFast-3600x-256GBWe’ve found them to be rock-solid media at a great price. Canon has also certified the 3500x in 64GB, 128GB and 256GB capacities for the Canon C300 Mark II. With maximum read speeds of 525 MB/sec and maximum write speeds of 445 MB/sec (that’s megabytes, by the way, not megabits), they are more than fast enough to keep up with the C300 Mark II even in its high-data rate 4K and 120 fps recording modes.

ARRI has approved Lexar’s Professional 3600x cards for use in AMIRA and ALEXA Mini as well as the forthcoming full-size ALEXA SXT (when used with ARRI’s CFast 2.0 Adapter 2 in the SXT’s media bay). Lexar’s 3600x cards are available in 128GB and 256GB capacities.

Though they feature the same maximum read and write speeds as the 3500x versions discussed above, be sure to use only cards marked 3600x in ARRI cameras. While it may be possible to use these 3600x cards in other devices, such as the C300 Mark II, understand that Canon has only qualified and approved the 3500x cards for use in the C300 Mark II. For other devices, always be sure to check the manufacturer’s website to see which cards have been certified for use with their equipment. You can also see Lexar’s official compatibility chart below.

lexar compatibility

(Click to view larger)

With the CFast 2.0 memory card market maturing, the format has been rapidly and widely adopted by digital video/cinema cameras (and, increasingly, still cameras as well). It’s great to see competitively priced, high performance cards from Lexar being certified by manufacturers for use in a wide variety of gear – that’s good for everybody.

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Last week, Convergent Design unleashed its largest firmware yet into the wilds of the production world. Firmware v2016.06 is packed with new features — twenty-three new ones to be exact — on top of twenty-two different fixes and improvements. The best part of all? This is a completely free update!

While the majority of the updates in v2016.06 are Apollo/Apollo Option specific, the Odyssey7Q+/7Q was certainly not left out. The Odyssey RAW Bundle now supports both FS RAW from the PXW-FS5, as well as IO 4K RAW form the IO Industries Flare 4K. FS RAW can be recorded in either CinemaDNG or Apple ProRes continuously at up to 59.94 fps in 4K, 240 fps in 2K, and as much as 120 fps in 4K burst mode. In addition to the RAW bundle upgrade, the Odyssey7Q+/7Q now offer Dual-HD recording capabilities, allowing you to acquire two HD video signals simultaneously in Apple ProRes HQ, 422, or LT.

…continue reading New Apollo/Odyssey Firmware v2016.06

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