Blackmagic HyperDeck Shuttle - comments please

Post Test will be of interest to me as well.

QC Monitors - Panasonic BT-LH1700We, HP Dream Color, Samsung BX2440 Synchmaster.

Would a simpler device such as the Ninja/Samurai/NanoFlash, or even the PIX 240, possibly be better?
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I dont know. Worth investigating to find out.

My largest issue with the BM Hyperdeck Shuttle is the MASSIVE file sizes for no visual gains. The advantages in post would have to really outweigh this BIG TIME for me to reconsider its value in my workflow.
 
I meant simple as in simpler workflow - starts/stops with the camera, normal run times on storage media, normal storage considerations, etc. The Hyperdeck sounds like a PITA by comparison, though on 10+ bit / 4:2:2+ cameras it might be great compared to alternative recorders.
 
IMHO - you need to have a seriously real reason to consider using the Hyperdeck Shuttle for something ..especially considering how good the AVCHD looks side by side with the uncompressed footage.

One would only want this for Post Production reasons IMHO.

The storage consideration is a big practical reason against the device but the user workflow is simple and efficient.

Manual On /Off function of the device is no problem. Device records (on/off) immediately with a single button push.
 
I am not surprised there was no visual difference between the raw AVCHD and the BM. I guess the real difference shows up when you try to cc/grade/key the footage, the AVCHD might not push as far. That is when 422 helps.
 
Hi Guys, pondering this purchase as well .....I can see there not being to much in the way of improvement because isnt the af100 only 8 bit 422 output If it were 8 bit internal record and 10 bit output there would be be a difference .......,which would make it more useful for Sony FA100 or F3 with 10bit out.
Also moving objects should also benefit from uncompressed correct ..Vs AVCHD.

So that and colour correction would probably justify hassle...but if you can get away without it ...probably a pass for most projeccts

Larry
 
larryfine451 said:
Hi Guys, pondering this purchase as well .....I can see there not being to much in the way of improvement because isnt the af100 only 8 bit 422 output
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Yes, you'd be recording the uncompressed 8-bit at 4:2:2.

If it were 8 bit internal record and 10 bit output there would be be a difference .......,which would make it more useful for Sony FA100 or F3 with 10bit out.
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FS100 doesn't have 10-bit output, it's 8-bit output. The F3, on the other hand, could take full advantage of a 10-bit recorder.

Also moving objects should also benefit from uncompressed correct ..Vs AVCHD.
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Depends on how much motion there is. And it isn't really motion anyway that taxes a codec, it's the amount of change between frames. You could have a tripod locked-down shot of a forest scene with the wind blowing, and even with no camera motion or subject motion, the sheer amount of change in the frame due to billions of leaves and grass blades moving about might overtax the codec. Or, if you're in a nightclub and someone's using strobelights and flashing colored lights, that might overtax a long-GoP codec. I've found AVCHD to be pretty reasonably robust, but if you want absolute uncompressed quality, the Hyperdeck is a way you can get it.
 
I did some tests, with the Shuttle and my FS100.
As Shooter said, there is only a subtile difference in the image, if you look at it.

I use it for greenscreen and VFX stuff. or if a shot has insane motion ( like in grass field) in the frame and I need the very best out of the camera.

I was pretty surprised, that even the difference in heavy color grading ( and I mean torturing the material for the sake of it) isn´t THAT big.
AVCHD holds up much better than the numbers on paper would let you expect.

I look at the shuttle, as a HDMI to SDI converter, that comes with a free recorder. ;-)
So I use it mainly to feed video village form my FS100 via SDI.

Frank
 
I'd think of using it as "sneakernet" - fill it up, immediately offload/transcode to ProResHQ in vidvillage.
 
One interesting use I've found for mine is similar to what Postmaster is doing.

I put the recorder at the end of the SDI run at the director's monitor/video village. It serves as a way of feeding a cheaper HDMI village monitor and also allows recording of a scene controlled by the director, allowing playback without needing the camera operator to do it. This has been particularly handy on a recent RED Epic shoot as (until just this week) the Epic doesn't play back in camera.

I also think the Studio version of the Hyperdeck may be interesting on shoots where the recorder can be away from the camera, on the camera or dit cart. It adds a second drive bay and hot swap while recording and DNxHD support for much smaller file sizes. Sort of like the old days of using a studio camera with a separate ccu/vtr. Haven't used one myself, but I may pick one up to check it out. I'll report back if I do.
 
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