Record uncompressed 14-bit (4:4:4) on your HVX200

Kholi said:
The Hydra pretty much ices the cake, along with whatever new features come with an HVX200A.
Click to expand...
The Hydra does not exist. And Andromeda is so riddled with problems and issues, so I find it hard to be so optimistic. Check the Andromeda boards full of frustrated DVX users and you'll see what I mean. ("wish I had just bought an HVX".....etc"
 
marketmd said:
The Hydra does not exist. And Andromeda is so riddled with problems and issues, so I find it hard to be so optimistic. Check the Andromeda boards full of frustrated DVX users and you'll see what I mean. ("wish I had just bought an HVX".....etc"
Click to expand...

I just Checked the Andromeda boards (again) and i fail to see very many complaints, and its FAR from being full of frustrated DVX users.
If anything I see some great footage, and Juan responding to most questions and problems.
 
This thread has been around for a long time and still no delivery or even projected delivery date that I can find on their site. Has anybody heard when the Hydra might be ready for purchase?
 
marketmd said:
The Hydra does not exist. And Andromeda is so riddled with problems and issues, so I find it hard to be so optimistic. Check the Andromeda boards full of frustrated DVX users and you'll see what I mean. ("wish I had just bought an HVX".....etc"
Click to expand...

Have you gone to the Andromeda boards? Just that comment makes me think that you haven't even visited. There are a number of very happy Andromeda users there.

It's VERY easy to be optimistic about Juan's work. The team is getting better at what they do and have a current track record of outstanding service.

Paul Nordin said:
This thread has been around for a long time and still no delivery or even projected delivery date that I can find on their site. Has anybody heard when the Hydra might be ready for purchase?
Click to expand...

They're working hard over at Reel-Stream on optimizing Hydra Quality. Last I heard you can expect product release by the end of the year, and beta footage and stills earlier.
 
I'm Posting my question again, hoping someone can answer it

Hey Everyone,

I'm hyped about the Hydra, but before I get my hopes up, I got a question. Some people on this forum state that 2k shouldn't matter for indie filmmakers because it is not possible to work with 2K (in post)? Is it because it eats up more HD space? Or because NLE's can't handle 2K?

Why is working with 2k not possible for indie/low budget filmmakers?

Thanks
user_offline.gif
 
It is possible, but will require a huge amount of research and planning to ensure that your entire workflow makes sense and that you can afford the computer/storage/monitoring system to support 2K.

You should check out hdforindies.com. Mike Curtis will consult with you about an HD post workflow.
 
Hello everyone,

My apologies for not chiming in more often, I've been busy with development. We're not only working on Hydra but on a new (firmware) update to Andromeda which supports PAL and 12-bit linear uncompressed modes without requiring LUTs to 10-bit or 8-bit.

We're looking at a Hydra release by the end of the year. There's some new info on the Reel-Stream forum, but essentially the output native resolution is slightly over (2048x1080), this is at all frame rates normally supported by the camera at up to 14-bit RGB (linear). You can record at lower bit-depths (12, 10, 8bit) using 3 channel LUTs which can be user-defined using our free xLUT software. Being completely uncompressed, the limiting factor as to what modes you can record will be the bandwidth of your hard-disk/storage. However, you can also record direct to RAM which could be used for high-bandwidth high-quality shots such as 2K 60P slow motion, etc.

You don't need to work at 2K, you can work at 1920x1080(or anything smaller) if you wish. However, the camera does natively support 2K at the imager level.

Dailies are 1K resolution up to 14-bit color, available direct from the RAW files, without processing required.

About the whole 4K discussion, at first glance I myself always thought it to be overkill, since the bulk of the 35mm scans i've worked with were done at 2K and nobody really sees the difference in the theater. I initially thought the Panavision Genesis offered more proof to this theory since it outputs 1080. In this train of thought, the only scientific study (i've found) done on the effective resolution of processed and projected 35mm film ends up with 800 lines or so in the best of cases. All of this just points to 2K being more than enough for 35mm projection.

However, on the other hand, as I understand it the Genesis is not really a 2K camera, it really has at least twice that many pixels physically on the sensor, so this initial reaction is probably not a very good argument. What I think is really cool about the RED camera for instance is that by using a 4K bayer sensor you can get a 2K image that essentially has more color information in it than a 3-sensor 2K camera, it's actually more akin to having a 4-sensor camera since the green is double sampled in the 2K image.

I guess what I'm getting at is that the advantages of 4K or higher resolution at the imager level are not just advantages tied to an actual 4K distribution.

The one down-side I see is that cramming so many pixels into a sensor tends to have a negative effect on dynamic range. In the case of the Panavision Genesis, there is a method employed in the color filter pattern to increase dynamic range, which I think yields great results.

Cheers,
Juan
 
Juan, thanks for that update. I'm excited to see what a Hydra future holds for many of us HVX200 users. :thumbsup:
 
thats great news juan, so you're saying that you can get more dynamic range from the 2k sensor rather than squeezing it from the 4k sensor.

so, how many stops do you think the Hydra will offer?
 
"To put it in simple terms, each bit in the AD conversion of the front end roughly equals 1 stop of ~potential~ dynamic range. So if you have a 12-bit camera, it is theoretically possible to get 11-12 stops, but in practice it is always less. In a 14-bit camera it is thus possible to get 13-14 stops of linear data. 1 stop is roughly equal to 6dB's.

The one true test, in my opinion, of photographic latitude is to shoot a backlit chart with steps composed of ND filters with increasing density along the chart. This allows one to carefully measure the light coming through each step with a light meter, and assess what the camera sees in a single frame.

Cheers,
Juan"

To quote the man himself..... If there is EVEN the remotest possibility of recording 10-11 stops of useable Dynamic range... that is AMAZING. Simply amazing. for a sub 10,000$ complete package.....
 
I cannot imagine that this wouldn't be an incredible opportunity to take a giant step forward for all HVX users looking to gain an edge. Of course, it is on a Mac :Drogar-BigGrin(DBG) so there's always that bias against...
 
You must log in or register to reply here.
Back
Top