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January 23, 2012

Blackmagic's New Hyperdeck Shuttle 2 is an External Recorder for Under $350

Have any of you used last year's Blackmagic Hyperdeck Shuttle? I ask because it always seemed like an incredible deal. An uncompressed HD-SDI recorder for less than $350 that lets you swap in SSDs of your choice. Seems like a perfect device to pair with the Sony FS100 or F3 (or any DSLR with a clean output). Despite not having used it myself, I bring it up because at CES last week Blackmagic released the Hyperdeck Shuttle 2, which adds an important feature: the ability to record to a high-quality compressed codec.

Uncompressed recording sounds great in theory until you realize the amount of storage space and bandwidth it requires (the Convergent Gemini also records uncompressed, albeit at a much higher price point). The Hyperdeck Shuttle adds the ability to record to Avid's DNxHD codec at 220Mbit/s, 10-bit. DNxHD is similar to Apple's ProRes (you'll notice that 220Mbit bitrate is the same as ProRes 422 HQ), and if you download the Avid Codecs package you should be able to edit DNxHD files within Premiere Pro and other Quicktime-based editors (in addition to Avid programs). So what you end up with is an external recorder that can record to a ProRes-equivalent for less than $350 (unfortunately, the new DNxHD codec is not available as a software upgrade for the first Hyperdeck Shuttle). Anyone who has any experience with the Hyperdeck, please chime in!

Also of note, a new editing I/O system from Blackmagic for under $250, Intensity Shuttle with Thunderbolt. The next 6 months should see a lot of Thunderbolt releases...

Intensity Shuttle with Thunderbolt

  • SD and HD compressed and uncompressed 10-bit video capture and playback.
  • HDMI in and out.
  • Component analog in and out.
  • Composite video in and out.
  • S-Video in and out.
  • Stereo analog audio in and out.
  • Thunderboltâ„¢ port.
  • Powered over Thunderboltâ„¢ cable.
  • Supports Apple FInal Cut Pro, Adobe Premiere, Avid Media Composer and leading editing software.
  • Supports Adobe After Effects, Adobe Photoshop, The Foundry and more design and compositing tools.
  • Includes Blackmagic Design Media Express capture and playback software.

[via AbelCine, CreativeCow]

Your Comment

56 Comments

I used the old one. Without any Compression. It works great, but there was not enough space for the footage. But it's a great tool. i'm still missing the external batterie.

January 23, 2012

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Yeah, uncompressed is a huge barrier to adoption unless you have space to just throw away. Which, with SSDs at their current price point, most won't.

As an alternative check out the Atomos Ninja & Samurai. They do the same as the Shuttle, but you can use HDD or SSD, it does ProRes compression, AND has a built-in touchscreen monitor/file manager: http://atomos.com/

January 23, 2012

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prores hq 422 is still a compression scheme. hyperdeck is aimed as an add on for visual effects pipelines that need uncompressed fidelity of pixels for camera tracking and creating mattes with chroma, luma, keyers. this product was not meant for videography but an innexpensive add on. example do your move with the nonja or aja and the few extreme vfx shots record those uncompressed to the hyper deck. and its still less than 5 bills for the option

August 9, 2012

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adam

Wow, does look interesting, especially at that price point. In a perfect world though a Sound Devices PIX 240 would be my choice. Those pre-amps get me amped-up :)

January 23, 2012

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Well it's about f'ing time they adopted DNxHD. I've been living by transcoding my footage to 10bit 422 or 10bit RGB DNxHD to work with. Now that they have it for the similar price in this upgraded hardware, it's so a done deal. HELLS YEAH!!!!

January 23, 2012

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Now that you can get 220mbs for $350, I would love to hear the "I'm sticking with my dslr" argument.

January 23, 2012

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Ryan

Actually, this SUPPORTS that argument even further....for us Magic Lantern users.
ML gives us the ability to shoot clean HDMI out, which I've done plenty of times in a San Fran shoot using Atomos Ninja.

But, with this, it's even more powerful and MUCH cheaper w/ the same if not better quality in many cases.

January 23, 2012

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ML uses a 20% crop to get back up to 1920x1080 for cameras that can barely resolve 700 lines.

January 23, 2012

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Ryan

I also use ML on my 550d, but as far as I can tell it does not support clean HDMI out? I thought this was not possible because of the hardware? Can you please link to a place I can read about the clean HDMI?

January 23, 2012

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Kim

Instead of helping people move on to better cameras, I have continued the cycle, I will not say anymore on this topic

January 23, 2012

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Ryan

Instead of helping people learn their tools and better their craft with the equipment they have you have perpetuated the gear porn cycle and helped no one...

If better equipment was within reach, I can only imagine they would have it. The fact that someone has a "lesser endowed inexpensive" camera probably means that they are attempting to learn the trade in order to afford/justify better equipment.

No need to be snobby.

January 23, 2012

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doucheiest comment of the day

and thats coming from ME

January 23, 2012

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John Jeffreys

Ryan, if you truly believe there's a single all-purpose camera, as you seem to imply in another post about "moving up" from DSLR, then you're either a lot less experienced than you pretend, or just clueless. My work tools are 1/3" chip cameras perfectly suited for ENG, corporate work and events. They're run-and-gun and they don't require closely-controlled environments (lights, focus, etc) to yield best results in the field.

I'm also looking at a DSLR set-up for filmmaking. It doesn't make sense to own expensive filmmaking equipment, because there's very little chance it'll pay for itself. But at the same time a good DSLR will let you pick up and shoot without waiting an entire year to navigate the labyrinth of funding agencies, insurance, bank loans, etc. A "BUDGETED project" (your emphasis) takes a year or more of your life and no one farts without a contract and a pile of paperwork, and you still have no guarantee your film will ever get made, or completed, or distributed, or seen. Frankly, for someone with your posturing, I'm truly questioning whether you've ever done any of this.

Several filmmakers have sworn off traditional financing routes because they find them too stifling and limiting. Ed Burns has made his last film, "Newlyweds", for $9,000, which he put up himself. It was shot on his Canon 5D. Yeah, the image isn't great, but at least he got the damn film made, instead of hanging out on an internet forum lifting his nose at the little people.

January 26, 2012

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Jacques E. Bouchard

It's right in the ML first menu, "GLOBAL DRAW". Turn it on/off and there you go.

Also, good point, O'Ryan. Apparently some people stroke their ego by the equipment they can afford. Not taking into account that gear is probably one of the least important factors as a cinematographer.

January 24, 2012

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I didn't think it would have been this rare for some one to use a dslr, get paid gigs, and move on to bigger and better things. Why you guys want to operate in a no budget world forever is beyond me. Whether you like it or not they're are better cameras in your price ranges. Af100s and FS100s are $60-70 to rent a day, but they're unaffordable. Used af100s sell for $3000 and if $3000 is expensive for a camera, you guys are really new to the game. You can throw tangents around like ego, tools, story or whatever, but in 2012 any BUDGETED project can afford to use a better camera than a dslr. But don't worry I know regardless, your "sticking with your dslr."

January 24, 2012

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Ryan

Are you really not gonna reply any of the questions on how you get clean HDMI out of a 550D?

January 23, 2012

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Bob

Magic Lantern firmware enables clean HDMI on the 550D/60D. Go here:

http://magiclantern.wikia.com/wiki/Unified

January 23, 2012

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Ryan Koo
Founder
Writer/Director

Thanks Koo, had an idea about that, just that the argument that there is no benefit in resolution because the HDMI out gives an SD signal had me wondering if Kahl new a secret setting we don't : )

January 25, 2012

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Bob

Also what does this mean for f3 vs c300, doesn't this mean that you can record slog 422 10 bit for $17000?

January 23, 2012

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Ryan

Yes... it won't be 444, it will be 10-bit 4:2:2, but... you can't do that anyway with the C300.

January 23, 2012

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Ryan Koo
Founder
Writer/Director

I have the USB 3.0 version of the intensity shuttle....it works flawlessly.

January 23, 2012

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sean

how long does the batterie last in that device? is the batterie interchangeable?
how much is one hour in uncompressed in gigabyte?

thanx ben

January 23, 2012

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ben

For DNxHD, 220Mbit = 27.5 MB.
27.5 MB X 60 seconds X 60 minutes = 100 gigabytes/hour.

I don't even want to think of what uncompressed is per hour, however. Several times that.

January 23, 2012

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Ryan Koo
Founder
Writer/Director

10 Bit YUV uncompressed is just under 500GB/hr for 1080p24.

January 23, 2012

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Michael

i read that the internal batterie last for one hour. what should that be good for? then you have to go back home and charge it?

January 23, 2012

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ben

This is great news, the device really needed a high quality compressed codec to be useful to more people. Now it needs a thunderbolt or eSata interface.

January 23, 2012

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Michael

Can't you just pop out the SSD and transfer using a SSD dock?

January 23, 2012

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Ryan Koo
Founder
Writer/Director

Does this device trigger recording from the camera? or do you have to start recording from the device?

January 23, 2012

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Good question!
Any answers?

Some devices use changes in timecode to trigger the recorder. Time for a firmware update?

February 5, 2012

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TonKa

This looks awesome! because it has HDMI and SDI it will grow with you as long as you're using a camera that has uncompressed HDMI out (mostly any non-DSLR). Now to price out some SSDs...

January 23, 2012

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This is one of the reasons to love the Scarlet. No need to work with external recorders. Or am I wrong about this?

January 23, 2012

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Dan

Correct.

January 23, 2012

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Ryan Koo
Founder
Writer/Director

In fact, there's a serious downside to using an external recorder with the scarlet; you're no longer recording RAW (or pseudo-RAW or whatever). So in the vast majority of cases you're much better off recording internally anyway.

January 24, 2012

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Luke

Though you could record both and use the external recorder's footage as an editing proxy and then reconform to the R3D's for grading.

But really you should just use Premiere and edit the R3D's natively. ;)

January 24, 2012

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Gabe

Does anyone know, will this work with the GH2?
I seem to remember hearing it cannot do clean HDMI out. Or maybe I'm confusing that with something else.

January 23, 2012

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ADC

January 23, 2012

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Wow...so the C300 isnt even out yet and suddenly the year old F3 plus Shuttle 2 combo leaves it close to dead in the water.

With the current pace of technology what's the likelihood of a 10bit 444 recorder for under $1k at CES in 2013 ? Anyone still want to 'invest' $16k in 8 bit 4:2:2?

Not me!

January 23, 2012

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But no timecode makes it useless for dailies.

January 24, 2012

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chris

Is the 7d clean hdmi?

January 24, 2012

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Peter

No, and unlike many other Canon DSLRs there is no Magic Lantern for it. So there's no way (as yet, but also I really wouldn't hold your breath) to get clean HDMI from it.

January 24, 2012

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Luke

Bang-on; the dual processors are an issue and prevent ML from being used.
As far as filming is concerned, the only real advantage of the 7D (other than the nice body) is having 1080p running on the monitor while recording [internally] w/o being downscaled to 480p.

However, if you have a 60D (better for filming), Magic Lantern and were looking to invest in an external recorder, the downsampling of the signal becomes a moot point. Since you won't be recording internally anyway, and ML runs on the 60D w/ the same s35 sensor as the 7D.

January 24, 2012

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Just to be clear there is a difference between a 'clean' HDMI signal and a 'full' HD signal over HDMI.

In standby ML only outputs 1620*1080 (3:2 ratio) so you then need to crop it to 1620*910 and then blow that up by 120% to get a 1920*1080 frame. As mentioned before given the canons barely manage to resolve 700 lines it really makes the whole exercise futile.

Hopefully its a different story for the Nikon D4...if its a nice clean FULL HDMI signal out as they claim the Shuttle 2 will be an awesome addition to such a kit.

January 24, 2012

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What you're describing is what the Canon cameras do on their own as it is.
As a test, record a scene internally, then use an external recorder for the very same scene.

You're right, you do have to blow it up slightly to a 1920x1080 frame, but you're doing it manually rather. When recording internally it's exactly the same thing that happens automatically- compressed and blown up to a 1080p frame.

For example, here's a test that demonstrates the same thing: http://vimeo.com/25580112

There is virtually no difference from the resolution of the native file to the resolution of the external file (blown up to about 118% in premiere). Just in the quality of the picture [of course].

Also, for many of us who have invested in Canon cameras, something like this is an awesome addition. If it were that easy to just jump ship to a newer model, we wouldn't have been using DSLRs anyway. Which is why, like many people, you work around the setbacks. There is no guarantee that the Nikon D4 will have more horizontal lines of resolution compared to the Canons. And from the early videos, it doesn't appear to be a real upgrade in line resolution either.

January 24, 2012

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Hmm... I am still very sceptical about that 120% blow up... Certainly requires some specialized algorithm for a proper up-scaling. Add to this that it will make the footage even less forgiving about sharpness !
([sarcasm] Especially because extra-short depth of field seems to be a very trendy trademark these days in DSLR videos ![/sarcasm])
In this case, I would even prefer framing for a 720p final output.
How would the downsides of the unusual resizing compare to those of the original footage transcoded to 10bits 4:2:2 ?
And how would the advantages of a less compressed source compare to those of an original 1080p source ?

January 26, 2012

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SimonL

This is a great addition to the Nikon D4 and sony fs-100. It puts the c300 to shame. $16k for 8 bit 4:2:2. While for less than half the price and a $350 upgrade you go from standard to ballin. Especially with the D4 being able to record up an an hour via hdmi. And if you don't need pictures its even cheaper with an fs-100 and an adapter for canon lenses. And $7k-$8k left in your account.

Here is another new, Nikon D4 video with Little Freddie King:

http://youtu.be/mpo5AC-wETY

good stuff

January 24, 2012

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nagato

I test and review video/film products and have tested the first version of the Shuttle with an AF100 and my new Sony FS100. The good part is that for green screen work the 10 bit uncompresed signal is great. I used FCP7 and blew it up 600% and still had clean edges after pulling a key with Red Giant's Ultimate. The 512GB SSD from Crucial that I tested gave me about an hours worth of footage. I popped the SSD into the BlacX 5G from Thermaltake to transfer the clips onto my RAID. The only problem that I found was that the internal battery died after about an hour. I had the same type of problem with my other add-ons so I got a rod system from Berkey Systems, added a cheese plate and Gold mount from Anton Bauer, and powered everything up from one AB battery. I'm looking forward to testing the new recorder with Media Composer 6 and the Da Vinci resolve with Avids MC Color panel.

January 26, 2012

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I considered buying the Shuttle 1 as an SDI recorder to record stuff from an eng truck, but there is no monitor-out on that thing. Even if I had an SDI monitor, the SDI is just an SDI through - so essentially you're recording blindly, which is really not an option for a professional workflow in my opinion.

The atomos ninja/samurai are better in that respect - they have a built-in monitor and also record on consumer hdds with a lot of space, but they are either hdmi or SDI - which is a bummer because I'd need SDI like once a year and hdmi I could use more often. However SDI was the prime reason to consider buying one of these recorders in the first place.

So I'm still waiting for a reasonably priced HDD/SSD recorder with SDI and HDMI, sporting a true monitor out (hdmi preferably) or a built-in monitor.

January 26, 2012

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Heiko

I bought he Shuttle 1 while waiting for a PIX 240 to be delivered.
The Shuttle does excellent recordings but to record uncompressed on SSD's makes it expensive or restrictive of record time.
The PIX does excellent recordings in compressed but is heavy and the monitor is no good for anything more than operating the PIX.

A better option would be a good monitor and a compact HQ compressed recorder.
I am going for a TVlogic 056WP plus Hyperdeck Shuttle 2.

January 26, 2012

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Pablo

A few things from the b&h online store
you need to know up front which I didn't before I purchased this recorder. First of all you need to research which off the shelf SSD drive you can use. The certified drives BlackMagic suggest in their manual only go up to 256GB. That's only 25 minutes of record time. I purchased a Crucial m4 512GB which is an improvement of their C300 SSD drives which are certified by BlackMagic. BlackMagic hasn't yet certified my SSD but I assume if it's an upgrade to the one they did certify I should be ok. Next thing is the SDI connectors are DIN 1.0/2.3, so if you are like me (and I'm using this with a SONY PMW F3, you will need a cable that has DIN on one end and the normal BNC on the other (and these are not regularly stocked items as of this review). The third thing is (and this may be reflective of many of the SSD recorders) this has not erase last clip function. So you will want to make sure you rehearse before you hit record. There is also no casing options yet so good luck with mounting it to your camera or tripod. The "DISP" button is not yet functional, but BlackMagic's website says it will become operational in a free firmware update later. The manual does not state what it will do though, so who knows if this is something to look forward to or not. All that being said, for under $400 it is hard to beat uncompressed 10bit 4:2:2 recording. But DO YOUR HOMEWORK first! It is not a good feeling to get a product as realize you don't have the connections, etc to make it work.

January 29, 2012

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Avner Ben

Hi Avner,

Which SDI cable do you use to connect F3 with the shuttle? I am looking to buy this and so the cable advice will be appreciated

April 16, 2012

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Shridhar

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