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    #11
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    Quote Originally Posted by edithouse View Post
    Can't beat this for $295. A ProRes 422 recorder and some velcro can stick anywhere, record anything
    Considering the cost of the CFast cards the BMD hyperdeck shuttle 2 and an SSD beats it.
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    #12
    Senior Member Mark Williams's Avatar
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    So, would the Star be a viable way to record ProRes 4:2:2 from the GH4? Also, would the Star stop/record from the camera?
    Regards,

    Mark

    GH5, Panasonic 12-60, 14-45, 45-175, Olympus 60 macro, 75-300, Benro S6 Tripod, Rhino Carbon 24" Slider, and Edius 8.5 WG.
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    #13
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    Nice to see CFast catching on. This, Amira, and Ursa.
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    #14
    Senior Member Mike Harvey's Avatar
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    Quote Originally Posted by squig View Post
    Grrr. Seriously who gives a crap about 422, it's barely any better than most internal codecs. They could at least add 4444 to the blades.
    What would be the point of adding 4:4:4? Anyone shooting with one of these types of recorders is probably not using a camera that outputs 4:4:4, so a 4:4:4 recorder tied to a 4:2:2 camera doesn't give you anything. And anyone using a camera that does output 4:4:4 probably has a budget for something better than a $300 recorder.
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    #15
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    Quote Originally Posted by Mark Williams View Post
    So, would the Star be a viable way to record ProRes 4:2:2 from the GH4? Also, would the Star stop/record from the camera?
    Yes, it will trigger according to the product page, and it should record the 4:2:2 HD from the GH4, although the page doesn't say if the Star is 10 bit or 8 bit.
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    #16
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    Quote Originally Posted by thedarkhorse View Post
    Considering the cost of the CFast cards the BMD hyperdeck shuttle 2 and an SSD beats it.
    not for size, portability, and convenience, which can be worth a lot. Also note that it's CFast 1, not CFast 2... still pricey per GB, but nowhere as ridiculous as CFast 2
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    #17
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    It doesn't according to Jeremy Young, I was just watching the terra deck live feed from NAB.

    The panasonic team is still working on implementing stop start time code over hdmi.
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    #18
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    Cfast card: Why?
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    #19
    Senior Member squig's Avatar
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    Quote Originally Posted by Mike Harvey View Post
    What would be the point of adding 4:4:4? Anyone shooting with one of these types of recorders is probably not using a camera that outputs 4:4:4, so a 4:4:4 recorder tied to a 4:2:2 camera doesn't give you anything. And anyone using a camera that does output 4:4:4 probably has a budget for something better than a $300 recorder.
    ProRes 422 introduces artifacts in the shadows and blocky areas, ProRes 4444 doesn't. It's about the bitrate. 422 is ok in a lot of situations but if you push it too far it will break. 4444 is a lot more solid. I want 4444 for the Sony A7s, the only recorder I know that does it is the Pix240i. You'd think in a time when we're shooting raw and 4k people would be looking for higher quality than ProRes 422.
    gamma-movie.com The Indie Gathering 2016 Sci-Fi feature screenplay award winner.
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    #20
    Senior Member Mike Harvey's Avatar
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    Quote Originally Posted by squig View Post
    ... You'd think in a time when we're shooting raw and 4k people would be looking for higher quality than ProRes 422.
    It depends on your intended purposes. Everything I shoot is AVCHD, and rarely is it an issue. Many folks aren't doing a ton of color correction, so there isn't a need for those higher bitrates. Raw or 4:4:4 is useless to my clients (and thus me), and I think I'm the intended audience for this recorder.
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