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

01.23.12 @ 9:51AM Tags : ,

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.
  • Thunderbolt™ port.
  • Powered over Thunderbolt™ 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]

COMMENT POLICY

We’re all here for the same reason: to better ourselves as writers, directors, cinematographers, producers, photographers... whatever our creative pursuit. Criticism is valuable as long as it is constructive, but personal attacks are grounds for deletion; you don't have to agree with us to learn something. We’re all here to help each other, so thank you for adding to the conversation!

Description image 58 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.

  • 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/

    • 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

  • 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 :)

  • 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!!!!

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

    • 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.

      • ML uses a 20% crop to get back up to 1920×1080 for cameras that can barely resolve 700 lines.

      • 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?

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

          • 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.

          • John Jeffreys on 01.23.12 @ 2:01PM

            doucheiest comment of the day

            and thats coming from ME

          • Jacques E. Bouchard on 01.26.12 @ 8:51PM

            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.

        • 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.

          • 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.”

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

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

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

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

    thanx 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.

  • 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?

  • 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.

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

    • Good question!
      Any answers?

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

  • 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…

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

    • 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.

      • 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. ;)

  • 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.

  • 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!

  • But no timecode makes it useless for dailies.

  • Is the 7d clean hdmi?

    • 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.

      • 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.

        • 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.

          • 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 1920×1080 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.

          • 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 ?

  • 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

  • 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.

  • 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.

  • 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.

  • 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.

    • 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

  • I just ordered one. Going to use with Sony F3. Will post footage to Vimeo and give impressions. I edit on MC so the DNX option is perfect. Not as functional as a Samurai or Pix but this is ok for me. My “big” stuff will be recorded to a Gemini but uncompressed is a monster if you don’t need it. Also, the firmware update that allows you to send S-Log out 4:2:2 is pretty good. I would love for one of these companies to give us the ProRes 4:4:4 option… maybe NAB 2012 :)

  • Bought a Hyperdeck Shuttle 2 about two weeks ago in preparation for an Easter Production I was filming.
    Fantastic unit – Initially bought it as I was in need of an SDI to HDMI and HDMI to SDI converter and thought that the recording function was a bonus! Then actually ended up mounting it to my Stedicam and using it each night of the production to record to, utilizing the DNxHD compression and a 120GB Kingston V+200 SSD drive.
    Great Results – and after each night I actually used Norton Ghost to copy the SSD to a normal 2.5″ mechanical HDD so I could format the SSD for the next night and record again. That way I can keep each shoot on its own HDD and swap them in and out of my Sata Dock as needed when it comes to editing. Highly Recommend if you need a good value piece of kit that just works.
    Unfortunately even the Atmos Ninja is just a little too pricey for my liking, even though it takes standard mechanical drives – plus a good bump could cause grief being mounted to my sled constantly moving.

  • Not for the Sony Nex-FS100 at 24p!!!!

    Hyperdeck and the products from ATOMOS cannot see or record the FS100′s timecode or pulldown flags from the HDMI. This means I would have to manually identify the where the interlaced frames start in every shot to remove the pulldown and get my 24p out. The cadence will start in a different place in every shot because the recorder and the camera aren’t synced in any way. No batch processing! I don’t care how wonderful a recorded file’s compression (or lack of compression) is, if I have to manually assess and assign the pulldown pattern in order to remove it from every shot, it’s not worth my time. It’s a shame. I would love the Hyperdeck, but until Sony update the firmware to send 24p over HDMI (and Hyperdeck records it), or the Hyperdeck records the timecode with pulldown flags, or better yet, removes pulldown before recording, the Hyperdeck is useless with the FS100 at 24p

  • Hello

    I recently bought the Hyperdeck shuttle to use as a field recorder for my Sony V1 camera – unfortunately whilst the conceptof the shuttleis good – itis a seriously limited device that really has a sole purpose of shooting short clips of uncompressed video in a studio for special post-production effects (e.g, compositing) other than that use it is going to be handicapped by a number of incomprehensible limitations:

    The design and concept is really cool and I am enjoying using it where possible – however the recording space on the SSD disks is limited due to the large file sizes of video shot – even using the DNxHD codec I am not even getting an hour of recording on a 120 Gb drive.
    SSD’s are expensive so it is not economically viuable to carry 10 of these into the field – so tapes are more practical.

    I ownder how feasible it would be for BM to release a patch that would allow for AVCHD (or similar) recording – even something a bit more compressed like HDV would allow for longer recording times on the SSD drives.

    So currently unless you have a large number of SSD’s the device is limited in a uncontrolled environment.
    Even with a large number of SSD’s transferring 120GB of data from each tape to an editing bay would be time consuming and edit drives will fill up very quickly.

    Why SDI?
    None of the cameras in the Hyperdeck promotional images on the BM website even come with SDI connectors – but a number of them would have firewire – what is wrong with firewire?

    File system compatibility for Windows users – BM should license the Apple file system software convertor for Win7 from Media4 and package it with the product.
    After spending $350 on the device it is just plain annoying to find out that you have to buy additional software for another $50 in orderto to make the device usable with Win7
    This does not make for happy clients.
    Especially since this ‘feature’ is not advertised on the box.

    So how cost effective is this device – well…after buying the shuttle for $345 – you still need buy the SS disks (a single 120 Gb SSD goes for approx $150)
    Then Windows users need the Win 7 file system software for another $50
    FInally a 2.5″ docking station is requird to transfer the files from the SSD’s to the edit bay – preferably a USB 3 compatible docking station this is aother +$100

    So suddenly the perceived cost benefits of the Hyperdeck shuttle are all negated and the buyer starts to think they would have been better served buying a Sony / Maxell field recorder instead as there are no hidden costs and the final price would have been better and the buyer would have a lot more recording capacity.

    And lastly another $100 for the mounting plate – a flat piece of steel with a few holes drilled in it.

    Surely BM is not that desperate for revenue that this has to be sold seperately?
    Apparently they are.

    So …
    The concept of the device is great and the potential value and possible use-cases could be endless – however BM have severly compromised the effectiveness of this product with (space hungry recording formats) and all the well hidden additional requirements and extra costs.

    The overall experience leaves a slightly bitter taste in the mouth of the client as the usefulness of the device diminishes.

    Unless the shuttle is aimed specificaly at users of larger more broadcast level camera’s and specifically for studio use (green screen shoots) it is a fairly limited device and in hindsight not suited to many outside shoot environments nor is it a serious contender to more effective field recorders available.

    I was a big fan of the BM product set – but this philosophy of all the addtional extras required just to get the product to work (especially for Windows users) means I am going to be a lot more wary of BM products and their inherent limitations going forward and will likely buy similar products from other vendors rather than from
    BM.

    Regards
    Neil

  • @ neil

    I am very sorry but your comment is rubbish. What are you? 19 years old and trying to be pro with a Sony V1?

    * Limited Recording time?

    Are you kidding? SDI is a pro level connector only used in Video for high quality (mostly uncompressed or just slightly compressed) signal content. Sure uncompressed has higher demands on filesize but you did know that? You looked at the specs at the BM Website and make yourself sure that you understand what uncompressed (or DNxHD) means?

    * Update for AVCHD Recording?
    What the fuck? AVCHD is limited in bitrate (v1: 17-24Mbps v2: 36-44Mpbs) and is a consumer video format.
    Its meant to be highly compressed and due to that – it needs processing power. You know that the Shuttle is a pro level field recorder for uncompressed (or DnxHD)? I think you wanted a portable consumer video rekorder but even these are more expensive than 350$.

    * its not economically reliable to use 10 SSD in the field?

    Every Pro Level User (or even Semi Pro Level user) would invest in 3-6 SSD Drives to fullfill their jobs/projects. You know other users earn money with their equipment and so you have to invest money into your gear to be able to get things rolling. An 128GB SSD costs 100-110 Dollars here in germany and I can record up to 12-15min on it. So I have 3 SSDs and transfer files onto my field notebook with 1TB HDD as storage. So i can use the 3 SSD many times. This works in Studio work or controlled field work. If you are filming weddings than you dont understand the “purpose” of you field recorder.

    If SSD are too expensive for you than your are not an Pro or an Semi-Pro or even anyone who does meanful things with his gear. If you are doing tv reportage then the Blackmagic or any alternative (like Ninja) is nothing for you.

    * Whats wrong with Firewire?

    Firewire was great but times changed a while ago. USB 3.0 is well accepted, HDMI is Standard, Thunderbolt will be soon widely available and SDI is the pro level Standard (one of many). Why should anyone use Firewire? Even audio gear manufacturer changed from Firewire to USB. In some areas Firewire is still used but how long?

    * Why SDI
    Blackmagic does not released the Shuttle only as field recorder for DSLR or HD Video Freaks. It also can be used a cheap studio rekorder. Even some Computer Gamer are using the Shuttle to record their “lets play” Videos for Youtube. You know that the Shuttle is also an HDMI-to-SDI & SDI-to-HDMI converter? So the device is not only a recorder….its an cheap simple converter HDMI-SDI/SDI-HDMI….for only 350$.
    You did read all the specs? What are you filming? Flowers, yourself in the bathroom mirror with your rig or just dogs/cats?

    * additional money spending for workflow?

    Yes. Apple users can use the SSD without any additional tools. And yes again – Windows 7 User need special tools for using the SSD (formatted in a specific format) on Windows. But such tool cost me 15$ here in germany. Well, I spend 350$ another 15$ bucks is ok….if you are doing meaningful and at leats semi-pro work with your camera. I know HDSLR users which only record insects (macro work) and even that is meaningfull because their work looks great and they are good in that what they are doing.

    Yes you need an SATA Dock (cost 18-25$ here / not 100$ liar!) to use it on your Notebook or Video-Workstation. And What? You did buy a mouse after you bought your pc or not? Some investments are crucial and you have to it. Its like to buy a car and then moaning about the need of gasoline!

    * Cost are negated?
    Why? Any alternative uncompressed field recorder cost 2-3 times more and still need the additional gear. So, you are telling me…you are poor….you have no job….you bought a camera….and now you are disappointed that only a camera (and a field recorder) doesnt do the job? Again….BM is producing a entry-pro-level device for Pro/semi-Pro Work………any critique of Noobs/Home-DSLR-I-shoot-flower-User is 99% ot the time…just rubbish

    * Mounting Plate:
    Funny. I visited the local home depot and found a aluminim bracket with mounting holes which fitted the Shuttle……bought also 4 screws and was able to mount it on my rig. I spent only 20$ (including 1 Ice cream, 1 coke and 1 bag of zip gear).

    Summary:
    The Blackmagic Shuttle v1 and v2 are great cheap devices for professional recording as uncompressed or slightly compressed formats. It is useful for Studio work, in controlled on location enviroments and even at home. For Green Screen work I am so happy because uncompressed gets me better results. I am shooting FX Footage of streets for later VFX compositing and my VFX Compositing colleague loves uncompressed. He hates AVCHD. Even my GH2 records great with the Shuttle even I have to do a lot of work after recording because of the shutty HDMI out of the GH2. Then other people record their computer game sessions on Xbox or PC an Shuttle. The device is great….the older v1 is available from 250$ and the V2 for 350-375$. In 1994 I payed 1500 $ for a Hi8 Field rekorder which broke after 1 year…then again 2 years later…which destroyed 5 Tapes with essential content on it and which was much heavier.

    So Neil……learn to be a pro or a semi-pro or just an amateur who does real great stuff with his camera….and understand “there is no cheap way to nirvana”….with your attitude you will be not happy in life and work. There is not a perfect device….the 5dmk2 was not perfect….the Gh2 was not perfect…the canon c300 is not perfect……….and we alle are not perfect. I want to recitate my colleague Mark Kobal:

    Lets go out and shoot something (and stop moaning about features for Noobs/cheapos) => the last part was added by me :-)

  • LORDSRAJESH on 05.29.14 @ 8:00AM

    CAN HYPERDECK SHUTTLE BE USED AS SDI TO HDMI CONVERTER? IF YES PLZ GUIDE ME.