F5: How many minutes at 4k raw with the Sony AXS-R5 external recorder and 128gb card?

AdvanTech

AdvanTech

Well-known member
Hi guys,

Just wondering if anyone has any experience with the recorder and how much recording time I'd be looking at shooting 4k raw with the recorder.

Thanks in advance for the help!
 
You can not record raw to a SXS Pro + 128GB card. The SXS Pro + cards are for the internal codecs only, if you shoot 4k XAVC @ 24p you will get around an hour on a 128GB card. But check out the info on the QXD cards as a low cost alternative at only 1/3rd the price and same performance.

If you want to shoot 4k RAW the smallest card I know of is 512GB which will give you about an hour of recording time at 24p.
 
starcentral said:
You can not record raw to a SXS Pro + 128GB card. The SXS Pro + cards are for the internal codecs only, if you shoot 4k XAVC @ 24p you will get around an hour on a 128GB card. But check out the info on the QXD cards as a low cost alternative at only 1/3rd the price and same performance.

If you want to shoot 4k RAW the smallest card I know of is 512GB which will give you about an hour of recording time at 24p.
Click to expand...

Ah sorry, we haven't rented the recorder yet. Yes, it will come with that 512gb card.

Thanks for the help! Much appreciated.
 
For those that have not been following the release of the 7Q over the past couple of weeks, the compressed codec has not been released yet. You can only record to uncompressed. This should change soon. The talk has been about ProRes but I am hoping they will be releasing DNxHD in both MXF and QT wrapped files. They were slotted to be doing DNxHD for the Gemini 444 but it seems to be either put to the back burner or abandoned completely.

Hopefully our coy lens expert will chime in.
 
That is indeed exciting news.

Any idea what gamma curve it's using in uncompressed? linear or curve? I haven't done too much homework on it as of yet.
 
ok thanks, it will proabably end up being a much better solution for F55 owners given you get a nice OLED monitor and RAW'ish recorder out of it.
 
It depends on what you find useful in the entire product offering. As a monitor on it's own it has quite a bit of value added features. There is an auto-calibration function that updates the color/gamma correction over time. It will be updated by Convergent Design (as I understand) over time to make up for the degradation that will have occurred with the color fidelity. It apparently will have very good scopes. This I am particularly waiting on to see some proof of that. If it lives up to their promise they should rival the scopes you see on Transvideo monitors. Again I am a wait and see on this but to me this is where some of the value add of the Odyssey is.

Also, you will have the ability to load and assign LUTs. From what has been shown, it looks straight forward.

You should have to ability, like the nanoFlash to embed and dissembed audio tracks beyond the default 2 tracks that you see on many cameras these days.

These are just a few of the value added features that should be of interest to many here, that is beyond it's ability to record from most cameras being used today.

Mitch has done a video recently showing the power options available for the Odyssey and demonstrates a Nebtek contraption that allows you to turn the Odyssey into a "Director's Monitor", It could also serve as an AC's monitor for pulling follow focus with Steadicam Operators as well...
 
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I'm keen on using it for an on-board monitor or as a monitor on my steadicam that needs a desperate upgrade. Otherwise my main interest is recording in linear RAW and possibly in 12-bit 2k if that could ever be an option.

I really feel that slog/slog2 is way too thin for getting non-plastic and rich images so have been wanting to switch over to linear RAW for quite a long time. It is one of the reasons I ditched the F3 for a RED camera then decided on the F55 when it was released. For film work I can't see using anything other than linear gamma in a RAW format. (ok well maybe Alexa but that's a different bag of beans)

I missed Mitch in Toronto at an expo held by Vistek/Sony a few months back, but heard it was a very informative session.
 
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FYI - just watched Mats 40 minute video. It talks a lot about using it with the FS700 but nothing really specific said about the F55.

Doing some further digging around it seems the 7Q will only be able to record signals from the F55 in the 4k F55 monitoring output specification ie.10-bit 422. As far as I know the F55 does not output a 4k RAW bayer stream like its baby brother the FS700. This means you would be recording the same gamma mode as the camera is set to ie. slog2 / slog3 / hypergammas / REC709.

Seeing as the F55 can already record 4k 10-bit 422 internally to SXS cards the only advantage of recording to a 7Q would be if you wanted the video in a different codec like ARRIRAW, Canon RAW, etc.. (which have to be rented) but as mentioned they would still be limited to the gammas of the camera which isn't that thrilling.
 
starcentral said:
Seeing as the F55 can already record 4k 10-bit 422 internally to SXS cards the only advantage of recording to a 7Q would be if you wanted the video in a different codec like ARRIRAW, Canon RAW, etc.. (which have to be rented) but as mentioned they would still be limited to the gammas of the camera which isn't that thrilling.
Click to expand...

If the 7Q is set to record ARRIRAW, or Canon's raw format, it will need very specifically formatted data coming over the SDI pipes, formats only those cameras are going to output.

You choices for F55 4K recording via 4 SDI spigots is likely going to be limited to ProRes and possibly DnX.

Mitch would know for sure. But both Alexa raw and Canon raw are proprietary systems while transported over SDI.
 
That is an excellent point. It may very well be that the you can only record in select RAW formats on the 7Q if the camera itself meets the some specific format specification.

Even still, more and more I see the gammas as the biggest limiting factor in the Sony cameras, not the bit-depth or the codec which I use to think was very important. Using a 7Q with the F55 really doesn't seem like it will rival the AXS-R5 RAW solution. That's too bad I was really looking forward to it.

On a side note I find it quite amazing that combined together a FS700 and 7Q will rival images out of a F3 or F5/F55 without RAW recorder. I really like the idea of 2k 12-bit for the thicker image but more efficient file size.
 
Spoke with Dan from CD. As far as he knows (and CD is still looking into it) based on what's coming out of the F55 (YCbCr 10-bit 422) the 7Q will take this and uprez it to 4:4:4 10-bit RGB and then record it to DPX.

Once the new announced codec becomes available (all bets are towards ProRes) several bit-rate versions of it should be available right up to 880Mbps.

Definitely doesn't seem like it will be recording RAW from the F55 anytime soon.
 
It's a shame the F5(5) doesn't offer 12-bit output over SDI, it'd be nice to have the option of 12-bit video to fill the gap between 10-bit video on-board and 16-bit raw to the recorder.

I find it hard to believe that Sony would have bothered to include the ability to transport the raw signal from the F5(5) over 3G-SDI given the raw recorder they've developed. I just don't think it would have occurred to them as something to do.
 
Something to bring up with key people at NAB and try to get their attention on their forum in the mean time.

They do have a pretty full development schedule laid out with the newer F series cameras, so this is not something that would happen in short order, in my view.

Who knows, if they went for this feature addition maybe they would also do this for the F35... Such a lovely camera.
 
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