F5: F5 and odyssey 7Q pairing
- Thread starter kcn823
- Start date
starcentral
Veteran
I was just researching for a friend in a different thread, but have also been considering it for myself for use on the F55.
I can tell you a bit of what it will and won't give you:
- It won't give you RAW recording capability unless Sony allows Convergent Designs to do it through some form of licensing agreement. But it will give you DNG which can be considered RAW, but there is some debate about that. :huh:
- It seems the 7Q will only record in 10-bit 422 DNG or DPX depending on if you record 2k or 4k. (This is for compressed or uncompressed versions).
- From the F5 the 7Q can not record 4k anyway since the F5 does not output 4k through any connectors. (I read some ambiguous statement a while back that the F5 may have some future firmware update to allow it to spew 4k over single SDI but I think the article mixed up the facts with the FS700).
- The F55 does output 4k through ports which will work nicely with the 7Q - but again, not to record RAW. Only DPX 10-bit 422 at that point.
- It will give you OLED quality images, which once you get use to becomes hard to give up.
- The F5/F55 at this time of writing have no built in exposure tools which for a production cinema camera is less than stellar seriously speaking. The 7Q will give you: waveform, RGB Parade, Histogram, Vectorscope, Zebras, False Color, 1:1 Pixel Mode, Focus Assist, Blue Mode, Guides...... . )
- There are currently NO built-in monitoring LUT's on either the F5/F55 camera or Sony VF or LCD's and I know Dan K from CD has mentioned adding this ability after the device begins shipping through a firmware update.
- With the ARRIRAW licensing (I'm not 100% sure about this) it might be possible to record 12-bit from the F700, F5 or F55.
I can tell you a bit of what it will and won't give you:
- It won't give you RAW recording capability unless Sony allows Convergent Designs to do it through some form of licensing agreement. But it will give you DNG which can be considered RAW, but there is some debate about that. :huh:
- It seems the 7Q will only record in 10-bit 422 DNG or DPX depending on if you record 2k or 4k. (This is for compressed or uncompressed versions).
- From the F5 the 7Q can not record 4k anyway since the F5 does not output 4k through any connectors. (I read some ambiguous statement a while back that the F5 may have some future firmware update to allow it to spew 4k over single SDI but I think the article mixed up the facts with the FS700).
- The F55 does output 4k through ports which will work nicely with the 7Q - but again, not to record RAW. Only DPX 10-bit 422 at that point.
- It will give you OLED quality images, which once you get use to becomes hard to give up.
- The F5/F55 at this time of writing have no built in exposure tools which for a production cinema camera is less than stellar seriously speaking. The 7Q will give you: waveform, RGB Parade, Histogram, Vectorscope, Zebras, False Color, 1:1 Pixel Mode, Focus Assist, Blue Mode, Guides...... . )
- There are currently NO built-in monitoring LUT's on either the F5/F55 camera or Sony VF or LCD's and I know Dan K from CD has mentioned adding this ability after the device begins shipping through a firmware update.
- With the ARRIRAW licensing (I'm not 100% sure about this) it might be possible to record 12-bit from the F700, F5 or F55.
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starcentral
Veteran
HFR must come through the SDI ports, since apparently for 7Q it's DNG for 2k up to 240fps.
DPX for 4k up to only 30fps.
I think I'm leaning back towards the AXS-R5. It's RAW for one, and 16-bit linear gamma.
DPX for 4k up to only 30fps.
I think I'm leaning back towards the AXS-R5. It's RAW for one, and 16-bit linear gamma.
I currently have the FS700 plus R5 sitting here for review. Thus far, all I've shot is water from the spigot at 240fps 2K. Not very exciting but could always be a cutaway if you have the right script. Or use Resolve and fake blood coming from the spigot (never have shot a slasher film...). I probably won't get a 7Q for this specific review but have been speaking with Dan and will get one as soon as they have a unit to send me. I can say at this point that the 2K from the FS700 is binned down so when I really get around to some serious shooting, we will see how that affects image. Adam Wilt and Art Adams were not impressed with the 2K.
I know we are a bit off topic here, but one advantage of going with the R5 is that the unit would be available for FS700, F5 and F55. By the way, the HXR interface for the R5 is pretty cool. Lets you format cards, delete clips, name camera and reel (limited abilities) and of course houses the SDI in.
That Odessey has a great monitor and excellent exposure/focus tools so I wouldn't count it out simply because it is doing its own debayer rather than processing R5 raw in the computer. And with a couple of SSD's, about half the price of the HXR+R5.
One final thing to keep in mind is that Resolve 9 does not recognize the MXF's from the FS700_R5, but that will be remedied in Resolve 10. No big deal, since Resolve 10 is close. In the interim, export DPX files from Sony Raw Viewer 1.1 anad bring those into Resolve.
Ned
I know we are a bit off topic here, but one advantage of going with the R5 is that the unit would be available for FS700, F5 and F55. By the way, the HXR interface for the R5 is pretty cool. Lets you format cards, delete clips, name camera and reel (limited abilities) and of course houses the SDI in.
That Odessey has a great monitor and excellent exposure/focus tools so I wouldn't count it out simply because it is doing its own debayer rather than processing R5 raw in the computer. And with a couple of SSD's, about half the price of the HXR+R5.
One final thing to keep in mind is that Resolve 9 does not recognize the MXF's from the FS700_R5, but that will be remedied in Resolve 10. No big deal, since Resolve 10 is close. In the interim, export DPX files from Sony Raw Viewer 1.1 anad bring those into Resolve.
Ned
That's what I'm thinking also. Just trying to see what if any recording options it really offers for the F5. Is it worth spending another $1000 over the Odyssey 7 if most the extra recording features don't apply to the F5 and it will be used just as a monitor.
Still not sure how the high frame rates will work. Will I be able to record 60, 120 and 180 (when available) on the 7Q in HD? Still have clients not interested in XAVC.
starcentral
Veteran
That's expensive for just a monitor on an F5/F55 but then again the Sony LCD or OLED is really expensive comparatively.
Remember also that Sony has indicated it will be putting a waveform monitor and histogram on the F5/F55 (free via firmware). Hopefully that's out before the end of the year.
Remember also that Sony has indicated it will be putting a waveform monitor and histogram on the F5/F55 (free via firmware). Hopefully that's out before the end of the year.
powervideo
Well-known member
The thing is has any tried to move camera setups, shoot off-the-shouder, low-angle handheld, etc with a heavy-ish 7" monitor on top of the camera with noga arm? There are other reasons to look at the Sony solution. It's not a problem for studio-based shoots, but it is tricky on location with a small (or no) crew.
My bad.. I meant the 7, not 7Q. Yeah, that would be a little spendy for just monitoring.
starcentral
Veteran
Yes I work a lot with the camera on full day shoots with a 7" mounted to top handle using a ball mount, and for some setups an articulating arm with the LCD to one side.
I went with the OLED VF on my F55 but my 7" gets far more use. I think its just what you get use to perhaps.
powervideo
Well-known member
For me, I'd only look at the Odyssey as a recording device. With monitoring, the client is often poking the screen with their fingers or it needs to be facing toward the mini-digital village. For monitoring I like the recorder (like the Samurai) to have a specific purpose. I do like the Odyssey 7Q concept with it's recording capability, extensive monitoring options and high-quality picture, but I wonder when it is decked with a V-lock battery, SSD's and cabling whether it may be too much up top.
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starcentral
Veteran
What you can do to lighten the load is use a hirose connector from the camera to power your Odyssey, this way keeping the rig down to one v-lock battery only. The 7Q draws something like 8w and the Sony 24w so you've still got several hours of runtime on any decent v-mount battery.
powervideo
Well-known member
I have a TVLogic 5.6" which I was going to sell, but it might work in the way you use it.
starcentral
Veteran
Bhphotovideo sells the hirose to DC plug, or you can source out your own connector and build your own. I forget the max current draw each hirose port is rated for but you should have enough for a monitor.
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powervideo
Well-known member
That's handy to know. Thanks!