Convergent Design: Looking Forward & Moving Ahead

Mitch:
Are you allowed to share infornation about ProRes 4K/UHD at 50 fps or 60 fps, using Sony FS700 recording option, now? After release of March Update (and a certification)?

Or does it continue to be a shall-not-be-named mystery until May?

Thank you.
 
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rheinturmblau said:
Mitch:
Are you allowed to share infornation about ProRes 4K/UHD at 50 fps or 60 fps, using Sony FS700 recording option, now? After release of March Update (and a certification)?

Or does it continue to be a shall-not-be-named mystery until May?

Thank you.
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When we are prepared to say something on this matter then believe me, I won't be keeping it to myself.
 
rheinturmblau said:
Mitch:
Are you allowed to share infornation about ProRes 4K/UHD at 50 fps or 60 fps, using Sony FS700 recording option, now? After release of March Update (and a certification)?

Or does it continue to be a shall-not-be-named mystery until May?

Thank you.
Click to expand...

Yes, this is the final feature that I am holding out for (and a nice-to-have would be HD 240fps in ProRes!). I'm pretty sure from the wording in the roadmap descriptions that the 50/60P 4K ProRes ability will be added in the May update. Then the FS700/7Q combo is the winner - and no need to get the FS7 for me at all (even the ergonomics I'm happy with the FS700 with my rig, so that issue is a non-issue for me).
 
Mitch Gross said:
When we are prepared to say something on this matter then believe me, I won't be keeping it to myself.
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The 100p 4K2HD was not on the March update roadmap.

Can you at least confirm or deny if the new "high speed compressed recording option" from the May update, just made it early into the March update? Or if we have some new awesome options coming our way in the future also?
 
Martin.G said:
The 100p 4K2HD was not on the March update roadmap.

Can you at least confirm or deny if the new "high speed compressed recording option" from the May update, just made it early into the March update? Or if we have some new awesome options coming our way in the future also?
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I'm hoping the "high speed compressed recording option" is the ability to take the 4K 60fps and 2K 240fps RAW signals and turn them into ProRes on the fly. That would be amazing. RAW is just more than I care to handle, now. After doing a few projects that were RAW heavy, I'm trying to avoid using it... haha.
 
Martin.G said:
The 100p 4K2HD was not on the March update roadmap.

Can you at least confirm or deny if the new "high speed compressed recording option" from the May update, just made it early into the March update? Or if we have some new awesome options coming our way in the future also?
Click to expand...
The High Speed Compressed Recording Option (I can't recall if those were the exact words I used in our roadmap, but I trust ya) that is scheduled for the May 2015 release IS NOT the 4K RAW Burst->2K/HD Apple ProRes that was included in the March release. I told you that with every release there will be some additional surprises that we are not telling anyone beforehand. This was one of them.

The functionality referred to for May is ... something else. ;-)
 
Mitch Gross said:
The functionality referred to for May is ... something else. ;-)
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In 2K it can continuously roll at the high speeds of 100p, 120p, 200p and 240p. Again, nothing to do with the Odyssey here; these are the outputs of the FS700.

CURRENTLY the only way we can record the 2K RAW signal is in 2K RAW. We have said that we will be offering an Apple ProRes recording, but it is not yet ready. We have also pledged to record such a signal at as high a frame rate as possible, but that this development would take some time and that we are unsure how fast we will be able to go and maintain the image quality that we insist upon delivering. When shooting high speed an issue is that there is very little time to process each frame, and the act of compression into Apple ProRes requires precise math so that any changes in the image from frame to frame are handled well while maintaining our bit rate. Each frame is limited to a certain amount of data and there can be only a small variance. That's fairly easy to handle when it is a talking head, but not so easy when there's lots of sudden change in an image, such as explosions, trees blowing in the wind, waves of water, etc. Guess what people like to shoot in high speed? The only way for us to know how fast we will be able to go is for us to try it and see how well we do. That's what we've been doing and the results are getting better and better. We have high hopes but are not prepared to announce anything yet. But look to our forecast schedule from a couple weeks ago to get an idea of where we believe we currently stand...
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Ya`ll so cryptic!

I like it. Keep suprises coming.
 
Remember how we said with the announcement at the start of this thread that Convergent Design was not going to announce any new devices at NAB? Well that doesn't mean that we won't have any announcements at all. There are some whoppers on the way, big news for current and future owners.

Stay tuned.
 
Just read about the new SoundDevices PIX E-series being debuted at NAB, including ProRes444 recording capablity. I hope CD can stay competitive and release this in the O7Q in short order. SoundDevices seems to have about half the trouble CD has when releasing DNxHD or prores variants.
 
Mitch, Speaking strictly hypothetically.. would the Odyssey 7q have the processing power to be equipped to convert footage captured Raw into ProRes after the fact? It could work similarly to the FS700 buffered record when doing high FPS. I would find this extremely useful with the Fs700 or FS7 to convert footage captured at 240fps in 2k raw or 120 4k burst into a much smaller file size for storage purposes. being able to shoot 240fps at 2k is great but it takes up so disc space and then everything has to be processed in post. In an ideal world this buffered record would be a separate operational mode and maybe it has a hard limit of 5 minutes on clip length. Then the conversion starts and the monitor takes the 2k raw footage and converts it to prores and writes it back onto the card then deletes the source files. You would end up with footage of much higher quality than the avchd recorded to the fs700 and it enables prores 240fps recording for the FS7.

Option 2: (this is a bit of a pipe dream but here goes) If the whole recording and deleting thing creates too much headache. a new device called a buffer box. It's a 64Gb flash box that acts as an intermediary between the fs7 and the O7Q. It records the raw high FPS feed onto the flash memory and when done the Odyssey 7Q begins to convert this footage into prores and record onto the drives.

Yeah, I'm probably dreaming.. just would like to have some readily available 240fps when I trade up to a FS7 from a Fs700
 
cuervo said:
Just read about the new SoundDevices PIX E-series being debuted at NAB, including ProRes444 recording capablity. I hope CD can stay competitive and release this in the O7Q in short order. SoundDevices seems to have about half the trouble CD has when releasing DNxHD or prores variants.
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Well, you don't really know what they do and do not have trouble with. We try to be far more open and communicative than other companies.
 
waefre said:
Mitch, Speaking strictly hypothetically.. would the Odyssey 7q have the processing power to be equipped to convert footage captured Raw into ProRes after the fact? It could work similarly to the FS700 buffered record when doing high FPS. I would find this extremely useful with the Fs700 or FS7 to convert footage captured at 240fps in 2k raw or 120 4k burst into a much smaller file size for storage purposes. being able to shoot 240fps at 2k is great but it takes up so disc space and then everything has to be processed in post. In an ideal world this buffered record would be a separate operational mode and maybe it has a hard limit of 5 minutes on clip length. Then the conversion starts and the monitor takes the 2k raw footage and converts it to prores and writes it back onto the card then deletes the source files. You would end up with footage of much higher quality than the avchd recorded to the fs700 and it enables prores 240fps recording for the FS7.

Option 2: (this is a bit of a pipe dream but here goes) If the whole recording and deleting thing creates too much headache. a new device called a buffer box. It's a 64Gb flash box that acts as an intermediary between the fs7 and the O7Q. It records the raw high FPS feed onto the flash memory and when done the Odyssey 7Q begins to convert this footage into prores and record onto the drives.

Yeah, I'm probably dreaming.. just would like to have some readily available 240fps when I trade up to a FS7 from a Fs700
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It's not so much processing power as architecture. The system really isn't designed in that manner. It would effectively have to play and record simultaneously, or at least read from one SSD while writing to another. Just not set up for that.

It also sounds horribly complicated with loads of limitations. I would much rather see a far simpler and more straightforward a solution. Stay tuned...
 
What are the chances of having a 4k RAW & .MOV anamorphic option: recording a 4:3 crop with proper monitoring at 2.40???

Putting a bid for a project that'll be shot with anamorphics-it'll be several months away and just curious?
 
240FPS 2k prores is COMING!! I'm amazed it has the capability to do that. It's funny how I can be more excited about owning a product than I was when I first got it over a year ago.
 
Mitch two quick questions. Will the 7Q soon be able to take a raw signal from a red camera and convert it to 12bit prores 444? Also, is there a way to make the false color only affect the raw signal? It's very annoying to apply a lut for the client and have to remember to turn it off when checking exposure. On a fast moving shot it's easy to forget and potentially mess up middle grey.
 
DanKov said:
Mitch two quick questions. Will the 7Q soon be able to take a raw signal from a red camera and convert it to 12bit prores 444? Also, is there a way to make the false color only affect the raw signal? It's very annoying to apply a lut for the client and have to remember to turn it off when checking exposure. On a fast moving shot it's easy to forget and potentially mess up middle grey.
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For the RED cameras, we cannot access the RAW signals. We take signals over SDI or HDMI, and RED does not output RAW over these.

There is the RED Broadcast, which will take a Dragon camera and allow the output of a 4K video signal up to 60p. This we can record in Apple ProRes 422 (HQ). There is the possibility for other recording formats as well in the future. I know that RED has had a bunch of announcements in the past few days, but I've frankly been far too busy with our own stuff here at NAB.

As far as the second part of your question dealing with the LUTs, I honestly do not understand what yu are asking. Can you break it down a bit more clearly for me?
 
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