HDMI Atomos Ninja Hard Disk Recorder 795$

Right -- it has nothing to do with the external recorder. It's the camera at fault. If the camera can't send a clean signal, then the recorder can't record a clean signal, simple as that. If the Canon puts a white box or a red dot on the output, then the recorder has no choice but to record that white box and red dot.

Look at your camera on a TV; what does it show? If you see nothing but pure image, then that's what the recorder will see too. If you see white boxes and red dots, then that's what the recorder will see too.
 
Yes, you are absolutely correct. i didn't phrase it right. i should have said; i don't think many potential buyers know about the flaws in using them with specific cameras.
 
Jarek Zabczynski said:
Define "stable" ?
Click to expand...

Apparently the GH2 doesn't output a perfectly synchronized 2:3 pulldown in its 60i output. The 59.94Hz 1080/60i signal is stable and shows properly on monitors and can be recorded properly, but the pulldown within that signal isn't exactly a perfect cadence, so it makes automatic pulldown extraction tricky if not impossible without some manner of custom-engineered programming.

This is what I gather from reading the thread; I can't test it yet as my monoprice mini-HDMI cables haven't come in yet, but I do plan on giving it a run with the Nano to see what's what.
 
Barry_Green said:
Apparently the GH2 doesn't output a perfectly synchronized 2:3 pulldown in its 60i output. The 59.94Hz 1080/60i signal is stable and shows properly on monitors and can be recorded properly, but the pulldown within that signal isn't exactly a perfect cadence, so it makes automatic pulldown extraction tricky if not impossible without some manner of custom-engineered programming.

This is what I gather from reading the thread; I can't test it yet as my monoprice mini-HDMI cables haven't come in yet, but I do plan on giving it a run with the Nano to see what's what.
Click to expand...

Hmm...I take the 30p would be stable no?
 
It seems a reasonable guess that it would be, but until I try it I won't know for sure.

It's amazing to me how things go though -- do you folks not remember that with the GH1 there was no monitoring *at all*? The fact that we have monitoring on a GH2 is the final breakthrough to make it a halfway usable camera. The monitoring isn't for recording, it's for ... monitoring! :) And as a monitor, it works just fine. It doesn't matter if you occasionally miss a field when monitoring.

It would be a nice bonus if it was recordable, but are folks really gonna spend $2895 for a Nano, to use with an $899 GH2? That just seems bizarre. I'm having a hard enough time justifying why folks should buy a $3k nano for a $4700 AF100, much less for a GH2.
 
Barry_Green said:
It would be a nice bonus if it was recordable, but are folks really gonna spend $2895 for a Nano, to use with an $899 GH2? That just seems bizarre. I'm having a hard enough time justifying why folks should buy a $3k nano for a $4700 AF100, much less for a GH2.
Click to expand...

A pretty salient point and one that comes back to the idea of diminishing returns. At some point, is the incremental increase in quality worth the dramatic difference in price? That's not to say that the increase isn't invaluable to some but at what point do we (collectively - no finger pointing intended) decide to just use what we have at hand as best we can?

While it would be nice to have a mobile external recorder on the incoming AF100, we've lasted for four years without one. In the odd case I might want to use the uncompressed HD-SDI output, it would (nine times out of ten) be for chroma-key work. At that point, we can just drag an MXO2 on set with a laptop. Even better, for most of that work, we can do it right in our loft so it's just a matter of buying a long enough HD-SDI cable.

And then, in the very rare case we might want an external recorder - there's always rental. Rental has been our primary source of nearly all production equipment (save sound), so why shy away from it now?

What we can do for X amount of money today is wonderful compared to what we could do just 5 or 6 years ago. But it doesn't make the content any better.

I like how Mr. Wells put it: "The absence of limitations is the enemy of art."

And, for the umpteenth time today, I'm rambling again.
 
Barry_Green said:
... but are folks really gonna spend $2895 for a Nano, to use with an $899 GH2? That just seems bizarre. I'm having a hard enough time justifying why folks should buy a $3k nano for a $4700 AF100, much less for a GH2.
Click to expand...

How about $1,000 for 220 Mb/s ProRes Ninja? (I know, I'll believe it when I see it too, but their web site was just updated to say they've done a production run, testing over Christmas and release in January.) But even as wishful thinking, what other camera gives you that kind of data recording... with or without bonus M4/3? Even similar at $2,895 for Nano + GH2?

RBG
 
I would say if they did a few things:

Have a HD-SDI Input model available as well
Support more resolutions (1080 30p, 50p, 60p, 720 24p, 30p)
Put a better LCD panel in for monitoring (5.6" 720p)
make the bezel slimmer around the LCD so it takes up most of the front

then...

They could easily charge $2000 and sell tens of thousands of them. It could be billed a proficient recorder and real monitor combo. It would easily be futureproof for most guys for the next 5 years unless you were going RED. And later they can come out with a 2k/4k model.

I guarantee the first company to truly do that would be very wealthy. Hey SmallHD, stick a recorder on your small monitor...

Please make checks payable to Kit Hannah. Thanks.
 
You are right, combining a recorder and larger LCD screen in one housing would be very smart.
 
Does anyone know if the Atomos Ninja will be able to take a 60i input (like from the Canon HV30) and remove 3:2 pulldown? That's a must-have for me...
 
Excepted this, Is there any hope to get rid of this awful block noise compression in the shadow using the ninja or Nano flash?

vincent*


Barry_Green said:
Apparently the GH2 doesn't output a perfectly synchronized 2:3 pulldown in its 60i output. The 59.94Hz 1080/60i signal is stable and shows properly on monitors and can be recorded properly, but the pulldown within that signal isn't exactly a perfect cadence, so it makes automatic pulldown extraction tricky if not impossible without some manner of custom-engineered programming.

This is what I gather from reading the thread; I can't test it yet as my monoprice mini-HDMI cables haven't come in yet, but I do plan on giving it a run with the Nano to see what's what.
Click to expand...
 
HDMI from HMC150 / 152

HDMI from HMC150 / 152

I was considering this in combination with my HMC152 camera to get a 'non compressed' output and 4.2.2
Other than reviewing the HDMI standard I cannot find any info on what the 152 outputs - is it non compressed?
Would this buy high quality image and color data.

Any thoughts would be appreciated.
 
^^hook the hmc via hdmi to monitor or tv. If the live image is cleaner than what you get from a recorded image then yes, it is uncompressed.
 
Hmm..
Not sure if that answers my question astigmatic - but thanks anyway.... I am planning to record trough the HDMI port of the 152. What I am unclear on is what does the camera output through this port. Other than reviewing the port standard I cannot find any info. Is the signal uncompressed and 4:2:2?

Does anyone have a view on how this would in real world terms compare to the AVC generated by the camera. I am doing a lot of high contrast, low light shooting and so playing around a lot with colour correction. I also use a 202 which has proven really good for colour work - but a lot less effective in low light.

Thanks
 
Any signal through HDMI is essentially what sensor sees before the compression. Your HDMI will have uncompressed 422 stream.
 
SDI to HDMI conversion

SDI to HDMI conversion

I have a Canon XL H1 - an early one. Does anyone know of a battery powered SDI to HDMI converter which could be used on location?

Harry
 
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