» Posts Tagged ‘convergentdesign’

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Convergent Desgin Odyssey 7Q-Apple-ProRes-MenuWhen Sony first announced the FS700, they somewhat cryptically stated that there would be a 4K upgrade path to this formerly 1080p-only camera. It wasn’t long before we found out what that upgrade option was going to be, and it includes purchasing another module along with the Sony AXS-R5 recorder (the same one that can be used for 4K RAW on the F5 and F55). This rig, besides doubling the price of the camera, is quite a bit unwieldy. Fortunately, there are other options out there. Convergent Design recently announced an update to their much more affordable Odyssey 7Q that gives 4K RAW and ProRes to the FS700 (along with ProRes to any other camera). More »

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teradek bolt wireless hd high definition hd-sdi hdmi video monitoring odyssey7q convergent design monitor recorder camera shootingWe’ve recently talked quite a bit about the Teradek Cube’s unique combination of capabilities – but if zero-latency, “mission critical” wireless HD monitoring is needed, the Bolt is Teradek’s purpose-built solution. Offering both HDMI and HD-SDI pairs, the Bolt is capable of completing a wireless follow-focus package or rough-and-ready director’s monitor. When paired with Convergent Design’s monitor/recorder Odyssey7Q, twin Bolt receivers allow the 7Q to monitor not one but two camera feeds wirelessly. This, in addition to the two-thousand foot range of the upcoming Bolt Pro 2000 unit, may present some exciting monitoring options for the future. More »

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sony_nexfs700The Sony FS700 made quite a bit of noise at last year’s NAB, not only for its extremely high frame rates, but because the camera was going to get 4K RAW support at some point in the future. While concrete info was almost nonexistent at that time (and for many months later), the details have started to emerge, and it looks like 4K on the camera will only come with a paid hardware upgrade. We’ve also got more details from Convergent Design about their new monitor/recorder the Odyssey, and how that fits into Sony’s 4K/2K recording plan, as well as some of the first footage available showing off the 4K RAW mode. More »

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Since its release last year, we’ve know that Sony’s FS700 — the high-speed ‘little brother to-be’ of the F5 and F55 — had 4K capabilities awaiting in its future. This option, with 4K RAW speeds up to 120fps burst shooting and 2K RAW up to 240fps (continuous) is made possible by a ‘middle-man’ interface/adapter module, the HXR-IF5 along with the AXS-R5 recorder. What we probably didn’t expect was support for 2K CinemaDNG at up to 240fps, or even 4K DPX at a more modest 30fps (still — it’s DPX) by way of another external recorder, the Convergent Design Odyssey7Q. Click through for further details from Sony, some speculative pricing on the R5, and a quick look at these beastly additions to the FS700 system. More »

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Convergent Design, one of the first companies to introduce a small and portable external recorder with the Nanoflash, just unleashed a brand new 7.7″ OLED 1280 x 800 external monitor that also doubles as an external recorder capable of receiving 4K RAW as well as uncompressed and DNxHD formats. That’s right, the company has decided that your external monitor isn’t good enough, and your external recorder is a little boring, so the best of both worlds should be combined into one device to rule them all. Here is the introduction video from the company: More »

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With each new camera comes a slightly different workflow, and the situation is no different with the Canon C500. We already talked a bit about the interesting way in which Canon is producing a RAW image with that camera (aside from being completely uncompressed), but we didn’t get into what you’ll actually need to do in order to begin working with this footage. Click through to check out a great video from Andy Shipsides of AbelCine on importing footage that has been recorded with the Convergent Design Gemini 4:4:4. More »

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I’ve pointed out in the past that one of the things keeping the RED SCARLET from being anywhere close to a $10k camera (as its price tag first indicates) is the price of its accompanying REDMAG media. RED recently dropped the price on REDMAGs, but even with the new pricing it’s still easy to spend half as much on the media as you did on the camera body — a ratio that is almost never true for other cameras. The EPIC needs high-speed media for its decreased compression and increased frame rates (and the ratio of media:camera is more friendly with a $1,000 media card when you’re spending $30k on the camera brain), but the SCARLET could use some correspondingly cheaper options. Not just in terms of capacity — also in terms of speed, given no one is shooting 5K at 120FPS on their SCARLET. Enter the new 48GB REDMAGs. More »

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There is no shortage of 4K RAW ready cameras being announced recently, from the Sony FS700 to the Canon C500 (and one internally recording 4K camera). It reminds me a little of when HDTVs were first released and many didn’t include HDTV tuners internally to actually get HD over the air. It’s a nice gesture and a smart idea to attempt to future proof a camera line – but details are a little more hazy on actually recording those 4K video streams to external recorders. Well, for a solution right now, you need to look no further than Convergent Design’s new Gemini RAW recorder. More »

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As large-sensor cameras at all price points become more prevalent, one of the most limiting factors to the image quality is the native video codec used for compression. Many of us are used to DSLR codecs that may hold up initially, only to fall apart during color correction (some codecs don’t even hold up very well initially, except for viewing on the web). One way to overcome this limitation is to buy a much more expensive camera with superior recording options, like a RED or ARRI ALEXA. Another way to overcome the same codec issue is to pair an external recorder with a cheaper camera. Here’s a roundup of the field recorders I saw on display at NAB. More »

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Convergent Design, manufacturers of the popular NanoFlash flash-based recorder, have announced the Gemini, a new 4:4:4 uncompressed field recorder. The Gemini features twin SSD slots, which allow for simultaneous recording of an identical backup, or gapless spanning from one drive to the next for longer recording times. The Gemini also integrates an 800×480 5″ LCD screen in a package that’s roughly the same size as the SmallHD DP6 monitor: the Gemini is 5.4″ x 4.5″ x 1.1″ and tips the scales at a scant one pound. More »