Any other Varicam HDC27 users out there ?

Young, the Vide Assist does not Up/down or cross convert signals. The only exception is the 5-inch VAHD will down convert a UHD signal to HD 1080p... Also the VA will take a 1080PsF59.94/60 and extract the 1080p24 signal via SDI and record it. If you feed a 720p60 signal, that is what it will record. Here are the supported SD/HD resolution/frame rates:

SD Video Standards
525i59.94 NTSC, 625i50 PAL
HD Video Standards
720p50, 720p59.94, 720p60
1080p23.98, 1080p24, 1080p25, 1080p29.97, 1080p30, 1080p50, 1080p59.94, 1080p60
1080PsF23.98, 1080PsF24
1080i50, 1080i59.94, 1080i60
 
At this point, personally, I avoid external recorders whenever possible(I see no real reason for them on my primary cameras: 2700, C300, F55), but I used to run a Nano Flash on my 27H constantly after they came out and did "dual record" to tape and card. As a matter of fact, whenever I do have to use an external recorder, I always dual record to the camera internally, whether it be tape or card, and to the external recorder. It's saved my butt more than once having the internal camera recording.
 
Well I wish I had a 2700 but my budget only got me a 27H for now. While I'm only going to use it for personal projects and maybe some live gigs I'd rather have a good external solution so I don't have to do any kind of conversion and a good edit ready codec. I remember the Nanoflash but does it do 3:2 pulldown to extract 24p from the 27H? If yes it would be a good option too.
 
It does do 3:2 pull down, but I never used that feature, even though I shot a lot of 24. The Nano was revolutionary in its day and it seems like everyone bought one. I've had different people try to buy mine off of me many times. Usually guys that already owned one(or more) and wanted another. I still carry it in the truck, "just in-case". I know time marches on, but if I had to use an external recorder, I'd much rather use something like the Nano than one of the monitor/recorder combos that everyone makes today. They're just too damn big to run around with.

It would be a good combination, but finding one will probably be very tough, now.
 
I hear you about the size of external recorders. I've worked with Atomos recorders on several shoots and was never fully convinced. Every extra piece of gear that draws a lot of power is a liability.

In the meantime I found this website with more info, for some reason CD doesn't list the specs on the official website anymore:
http://convergent.contentpros.net/Products/nanoFlash/Specs/tabid/1889/Default.aspx

It says it even supports VFR over under crank (user programmable). If that means it will detect the flag set by the 27H and correctly records ramping is another question.
But I would be stoked to use a small and light Nanoflash instead of a Kipro Mini or other bigger devices that draw a lot of power.

Anyway thanks again, all the info is really helpful! If you're bored maybe you'll feel inclined to hook up your nano and see if it properly records 24p ;)

p.s. is the F55 really popular over there? Literally nobody is using F55/F5 over here even though I quite like it, shot a feature on it and Red but seems like clients don't want and really konw it over here.
 
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I never messed with the VFR function on my Nano, either. I just used it to do basic recording and never took advantage of some of the more advanced functions it had. But I'd say most people I knew with them, probably didn't, either.

Generally speaking, on the feature side of the broadcast/network world over here, the F55/5 is very popular. Especially those that shoot sports features. The fs7 is very popular, as well(maybe more so), but that's mainly because of cost.
 
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Since you've mentioned dual recording before, which brand/version tapes would you get for the 27H? I want to buy a bunch and also do dual rec for peace of mind :)

I wish I had gotten a F55 rather than my Scarlet 5 years ago. Seems to be still a relevant camera spec and quality wise, at least in Europe and North America. Scarlet doesn't get a lot of love anymore, even Epic over here. It's all Alexa Mini, Amira or Dragon for the higher end stuff over here. FS7 is super popular though, as you said, it mostly boils down to low cost production. Very sad to see the development of our industry.
 
Run&Gun said:
I never messed with the VFR function on my Nano, either. I just used it to do basic recording and never took advantage of some of the more advanced functions it had. But I'd say most people I knew with them, probably didn't, either.

Generally speaking, on the feature side of the broadcast/network world over here, the F55/5 is very popular. Especially those that shoot sports features. The fs7 is very popular, as well(maybe more so), but that's mainly because of cost.
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What lens are the F5 / F55 owners most using to shoot sports and live tv? The Canon 17-120mm or an adapted B4 lens? I was attempting to use my Fs7 to shoot sports and live tv, but it just wasn't working out for various reasons. Being that my clients only need 1080, I purchased a pre-owned PMW 400 w/ 17x lens for doing the sports news / live shot work. If they want 4k or the s35 depth of field, I go back to my Fs7. One issue with doing news / sports news with the Fs7 is that the Fs7 does not play back footage seamlessly. It freezes the image momentarily at the end of each clip. ( I've been told that the F5 and F55 do not, that both cameras play back footage with a clean cut between clips ). When I would feed b-roll with the Fs7, the pausing / buffering between clips was an issue because the news / sports news clients prefer to receive the footage in a manner that doesn't require editing and can simply be rolled into shows as received.

I considered purchasing an F5 or F55, but it was hard to justify the cost when the PMW 400 provides everything these clients need for live shots / news. Someone mentioned 4K 2/3" cameras, but as of today the 4K B4 mount zooms are around $40k, the camera $25k. A $65K price tag for 4K 2/3" video that I have yet to encounter anyone requesting. One could buy a Sony Venice for that price. Or an F55 with a 17-120mm and a set of Zeiss CP3 primes.

2/3" 4K makes sense in many ways. But it is hard to spend $50k more than the cost of an fs7 for a camera that has fewer codecs, doesn't do slow-mo, can't output RAW, doesn't shoot S-log, and has a smaller sensor producing a less cinematic looking image.
 
Hey JP. I'm not using my 55 for anything live. Just feature stuff(well we did use it for one LS a few weeks ago. I was shooting some wired sound on my 2700 and the producer shot a LS that happened at the same time with the 55). As far as glass, I have the 17-120, the IBE adapter for my 2/3" HD ENG lenses and a set of CN-E primes. The 55 does play back seamlessly.

I think you made the right choice for ENG shooting.
 
Run&Gun said:
It does do 3:2 pull down, but I never used that feature, even though I shot a lot of 24. The Nano was revolutionary in its day and it seems like everyone bought one. I've had different people try to buy mine off of me many times. Usually guys that already owned one(or more) and wanted another. I still carry it in the truck, "just in-case". I know time marches on, but if I had to use an external recorder, I'd much rather use something like the Nano than one of the monitor/recorder combos that everyone makes today. They're just too damn big to run around with.

It would be a good combination, but finding one will probably be very tough, now.
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To get back to the topic, I have gotten a reply from Convergent Design in the meantime (Blackmagic didn't bother to answer!). They are unsure if "3:2 pulldown works with this particular camera" but the manual clearly says 3:2 pulldown from 720p60 to 24p is working. I don't see any reason why this would only work with specific cameras. In the meantime I bought a 2nd hand Nanoflash, am really stoked about this because it's small, lightweight and doesn't draw a lot of power. Can't wait to fire it up on my 27H!
 
Hey guys, got my Nanoflash and all bits and pieces that I needed but having trouble getting a SDI signal to my NF.

It says "No source" on the NF display. Taking the SDI signal out of the "EE" SDI port but also tried the HDSDI MON port with no success. Have the switch on "EE" position so it sould always output a signal from the EE port no matter what but NF still says No source.

I tried two SDI cables, wondering if they are defect or if it is a setting in the 27H or NF that I'm missing?!? I'm a bit helpless, definitely have the NF source on "SDI" and couldn't find any other setting that would do something.
 
youngindiefilms said:
Hey guys, got my Nanoflash and all bits and pieces that I needed but having trouble getting a SDI signal to my NF.

It says "No source" on the NF display. Taking the SDI signal out of the "EE" SDI port but also tried the HDSDI MON port with no success. Have the switch on "EE" position so it sould always output a signal from the EE port no matter what but NF still says No source.

I tried two SDI cables, wondering if they are defect or if it is a setting in the 27H or NF that I'm missing?!? I'm a bit helpless, definitely have the NF source on "SDI" and couldn't find any other setting that would do something.
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Sorry im a year late on this, but, incase you are still having trouble, external recorders need to be able to read the metadata coming from the HD-SDI signal to properly flag the signal/frame rate. make sure your recorder has the ability to do this. I know of people who have used varicams and NF before.
 
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