F35: Best recorder

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Edrafennas

Active member
hello! Congratulate me with the acquisition f35 !! :) I immediately raised the question better recorder ! please advise! Odyssey7q? pix240? gemini444? sr-r1? Thanks!:D
 
do you have the IF box?

do you want to do 50p?

do you want proresHQ?

if yes to all these, then go the 7Q
 
7q is the best to keep weight down and battery usage down. If you want 12 bit pro 4444 - then you have to buy a aja multiplexer and the pix 240 - that's what I found - but it eats up a lot more batteries and then you also probably want to have a monitor as well so it's bigger and bulkier. But soon hopefully the O7Q will be able to do 12 bit pro res 4444. Time will tell. Anyway I love the O7Q. Very durable and great monitor.
 
the best recorder depends on what you’re going to do…

7Q+ is the most feature packed and probably most future proof at this point
+ 4 simultaneous inputs, records 10bit DPX or Pro Res
+ 1280x720 7" OLED
- media is pricey,
- User interface and touch screen response is somewhat clunky compared to recorders like Atomos
- steppy resolution on waveform, RGB parade, and vectorscope is weak

Shogun
+ Records to ProRes
+ uses common SSD media
+ Great IPS 7" 1920x1280 LCD Screen
+ User interface and touch screen response is excellent
+ Custom viewable luts
- no uncompressed recording options

Gemini 444
+ records uncompressed (uncompressed 12 bit with LUT Box)
+ small 5", energy efficient screen
- cannot record to compressed flavors like Pro Res
- discontinued, no more firmware updates, no warranty
- no waveform, no exposure tools other than rudimentary LUT monitoring

Pix240
+ 444 12 bit Pro Res Recording (with 3G multiplexer)
+ excellent audio preamps
- fan, (sucks in dirt in rugged environments)
+ Good IPS screen with false color exposure

SRR1
+ unlocks frame ramping features of the F35 (I think?)
- media is very reliable but expensive (roughly 2-3k for 512 GB)
- no screen
- very power hungry,
- big and heavy

Hyperdeck Shuttle
+ records 4:2:2
+ cheap
 
that's a pretty nice list Maneul, but if we're talking specifically about the F35 then you've gotta talk about inputs and compatible formats/frame rates :)

As far as I'm aware the shogun only has HDMI. So you'd need a Multiplexer/HD-SDI Converter that was compatible with the range of outputs the F35 does - IE combinations of dual Link 1.5 for 50p and 4444 24/25p but only single link for 422 25p. Depends on what it can accept and convert to I guess.

And I'm not sure the PIX does 50p in 1080? so you're gonna be limited to 24/25/30p and 50i - same with the hyperdeck and possibly the Geminni?

The 7Q+ is a new one. I only found out about it a few days ago. Makes me a little pissed that I missed the price reduction on the 7Qclassic. BUT in the new firmware update, it looks like they've made the classic compatible with the cheap 4k HDMI-HDSDI converter boxes. So I don't feel like i'm missing out on much :)
 
I don't believe the SR-R1 will speed ramp, you have to go back to a tape deck to get that feature.

Also the Shogun is 10-bit only not 12-bit. At least the 7Q is 12-bit capable so the F35 12 bit signal is still possible with 7Q.
 
and the shogun from early reviews is weakly constructed and has a monitor that is very shiny - best bang for the buck if you don't need 12 bit 4444 for me is the odyssey 7q. if you need 12 bit 444 the pix 240 is the best way to go.
 
I own a Gemini, yes it'll do 50p 422 from 1 IF just fine, the dpx frames get spanned across 2 ssd cards, odd frames on one, even frames on the other. The LUT Box gives us a 12bit 444 uncompressed option for 24p. Got it for a bargain with 6 256Gb cards.

We also have a 7Q here that we can rent for cheap too. The 7Q does everything that the Gemini PLUS Prores HQ up to 50p, which is nice for projects that ask for a compressed workflow.

The problem with both Convergent Design recorders is that they expect some sort of timecode input (either through SDI or 5-pin LEMO) since none of them generates timecode themselves. The F35 does not output timecode by itself (the SRW-1 was in charge of such task). This makes conforming in an online/offline workflow for a long form project a headache.

The Sound Device Pix240i is a nice little piece of equipment really, solid build, timecode, 12bit Prores4444. But it doesn't record pass 30p for 1080p.


So it really depends on what kind of shoots you have most of the time. Before we have the 7Q we'd just have our DITs convert the DPXs straight from the cards into the disk array to a compressed flavour (usually Cineform) on set using Davinci Resolve without a noticeable penalty on time.


All in all the SR-R1 sounds like the best option (good compression, timecode, reliable media) BUT it's a power hog and it's heavy, and then you'll some sorts of monitor too and the cheapest SRMemory cards are still expensive (so is the card dock). There're always trade-offs.
 
Hello everyone. It took me a very long time and quite a bit of money, but I have recently procured a complete Codex Onboard M Recorder setup. The setup includes the active mount that connects to the recorder through the multi-pin interface directly on the F35, data packs, and, very importantly and very difficult to find, the data transfer unit to download the material at high speed. I previously tried to download the footage via the Ethernet connection from the recorder itself, however the maximum transfer speed I have ever been able to achieve is 1 fps (each frame is about 9.3MB) - much to slow to be useful. With the data transfer unit I am able to download 100GB in about 30minutes (to an external hard drive, so that might be a bottleneck).

I am still testing it and did not have a chance to take it out into the wild to capture some decent footage to share here. Unfortunately (well, fortunately really, but fortunate for the tests) I will be away for 5 weeks beginning this Sunday and therefore the testing and sharing of some footage will have to wait until sometime in February. The information I have gathered in the limited time using it and that I can share for now is that the Codex receives all the camera information - timecode, start/stop trigger from the camera, under and over cranking, ramping, and metadata. I have been able to set the camera at 1fps and ramp up to 50fps maintaining exposure and when I offload the material the Codex application automatically converted a copy to Quicktime Prores 4444 with the correct speed throughout the clip. I have to say one of the greatest things about the Codex is the application that automatically creates different versions of the footage in realtime (you can easily setup what versions you want). Of course the main reason I got this recorder in the first place is that the it captures gorgeous 12-bit 444 up to 30fps and 10-bit 444 up to 50fps. Finally, it doesn't seem to require that much power - I am able to power the camera, recorder and an Ikan d5 for about 90 minutes on a generic 150wH battery.

If I get a chance to shoot something tomorrow (unlikely) I will post links to the original uncompressed 12-bit files. With this post I just wanted to give a heads-up that there is someone here with a Codex system that will soon write a thorough review of this setup.

Cheers and Happy Holidays to everyone.
Igor
 
dangtienanh said:
I own a Gemini, yes it'll do 50p 422 from 1 IF just fine, the dpx frames get spanned across 2 ssd cards, odd frames on one, even frames on the other. The LUT Box gives us a 12bit 444 uncompressed option for 24p. Got it for a bargain with 6 256Gb cards.

We also have a 7Q here that we can rent for cheap too. The 7Q does everything that the Gemini PLUS Prores HQ up to 50p, which is nice for projects that ask for a compressed workflow.

The problem with both Convergent Design recorders is that they expect some sort of timecode input (either through SDI or 5-pin LEMO) since none of them generates timecode themselves. The F35 does not output timecode by itself (the SRW-1 was in charge of such task). This makes conforming in an online/offline workflow for a long form project a headache.

The Sound Device Pix240i is a nice little piece of equipment really, solid build, timecode, 12bit Prores4444. But it doesn't record pass 30p for 1080p.


So it really depends on what kind of shoots you have most of the time. Before we have the 7Q we'd just have our DITs convert the DPXs straight from the cards into the disk array to a compressed flavour (usually Cineform) on set using Davinci Resolve without a noticeable penalty on time.


All in all the SR-R1 sounds like the best option (good compression, timecode, reliable media) BUT it's a power hog and it's heavy, and then you'll some sorts of monitor too and the cheapest SRMemory cards are still expensive (so is the card dock). There're always trade-offs.
Click to expand...
I don't recall which of our six updates this year included it, but the Odyssey7Q can now generate it's own timecode. All in the menu and pretty straightforward to setup.
 
Samana76 said:
Hello everyone. It took me a very long time and quite a bit of money, but I have recently procured a complete Codex Onboard M Recorder setup. The setup includes the active mount that connects to the recorder through the multi-pin interface directly on the F35, data packs, and, very importantly and very difficult to find, the data transfer unit to download the material at high speed. I previously tried to download the footage via the Ethernet connection from the recorder itself, however the maximum transfer speed I have ever been able to achieve is 1 fps (each frame is about 9.3MB) - much to slow to be useful. With the data transfer unit I am able to download 100GB in about 30minutes (to an external hard drive, so that might be a bottleneck).

I am still testing it and did not have a chance to take it out into the wild to capture some decent footage to share here. Unfortunately (well, fortunately really, but fortunate for the tests) I will be away for 5 weeks beginning this Sunday and therefore the testing and sharing of some footage will have to wait until sometime in February. The information I have gathered in the limited time using it and that I can share for now is that the Codex receives all the camera information - timecode, start/stop trigger from the camera, under and over cranking, ramping, and metadata. I have been able to set the camera at 1fps and ramp up to 50fps maintaining exposure and when I offload the material the Codex application automatically converted a copy to Quicktime Prores 4444 with the correct speed throughout the clip. I have to say one of the greatest things about the Codex is the application that automatically creates different versions of the footage in realtime (you can easily setup what versions you want). Of course the main reason I got this recorder in the first place is that the it captures gorgeous 12-bit 444 up to 30fps and 10-bit 444 up to 50fps. Finally, it doesn't seem to require that much power - I am able to power the camera, recorder and an Ikan d5 for about 90 minutes on a generic 150wH battery.

If I get a chance to shoot something tomorrow (unlikely) I will post links to the original uncompressed 12-bit files. With this post I just wanted to give a heads-up that there is someone here with a Codex system that will soon write a thorough review of this setup.

Cheers and Happy Holidays to everyone.
Igor
Click to expand...

Awesome! thanks a lot
 
Igor very exciting news! Would you start a new thread once you have a chance. Also how do you mount the battery with the codex on?
 
Mitch Gross said:
I don't recall which of our six updates this year included it, but the Odyssey7Q can now generate it's own timecode. All in the menu and pretty straightforward to setup.
Click to expand...

That's great to hear to Mitch Gross, seems like the 7Q might be the best options for the F35 now. We have it on v3.10.100 and my impression about timecode was from its early days, thank you :)
 
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