Hyperdeck Shuttle 2 now does ProRes.

One River Media did a test of 10bit footage compared to 8bit and how much more image information 10 bit had. It was impressive. He took a blown out window and brought it down to where you could now see blue ski and clouds. Crazy cool. I want that! This was from the BMDCC.
 
I just ordered a shuttle 2. I have 12 volt batteries with 4 pin female xlr, where can I get battery cables?
 
Excuse me if I seem dense (take into account that I was still editing on a Moviola less than 12 years ago) - but I still don't know if the Shuttle has any kind of indication via HDMI out (from the Shuttle) to an EVF to indicate the unit is recording.

I handhold using a Z-Finder with the AF slid way back on my shoulder, so the Shuttle's indicator light would not be visible unless I slid the unit forward to check - that would not be good. I know one of these external recorders has an indicator, don't remember which, but does the Shuttle?
 
As well as what one poster has mentioned about the noise becoming real workable noise the main area to consider is that going fom 4:2:0 to 4:2:2 you are now getting 50% more colour "resolution" (hence why green screen is better as there is a better separation between Red Green and Blue Pixels). Now when you combine that with jumping up to 10 bit on the AF100A we are now going to be recording over 1000 shades of each colour compared to just over 250 shades in 8 bit! That's 4 times as much colour "information" for us to work with and should help or eliminate banding and help the roll off of the highlights.

thats my understanding.

Big thing for me with the Hyperdeck update is now having an option of ordering a dedicated monitor/evf separate to the Atomos recorder. It's now cheaper to have a DP4 mega bundle and HD2 with SSD media for less than one Atomos recorder. I end up with two devices dedicated to there job and the failure of either device does not impact the other.
 
Hey Erik, have enjoyed your vids on Vimeo. Very much looking forward to the 12-35 one day (will you do a review on ths and the 35-100 soon?)

in regards to tht video you watched, I watched it too and it was pretty amazing but he was showing 12 bit RAW converted to 8 bit compressed against 12 bit RAW. I think a better video to look at (if you can find it) is the F3 video showing its regular 10 bit vs the slog 444 update (was it 444 on the f3?) that was an opener and is more in our realm of what might be possible.
 
Prores or DNxHD doesn't matter with Adobe. I use both but I found out that Prores HQ had a higher bitrate than DNxHD from the Shuttle so Prores could prove to be better.
 
Editman Sweden said:
Prores or DNxHD doesn't matter with Adobe. I use both but I found out that Prores HQ had a higher bitrate than DNxHD from the Shuttle so Prores could prove to be better.
Click to expand...

The target bitrates are the same for each codec, but as you mentioned the real world bitrate is slightly better on ProRes. Personally I think the codecs are so close in quality it's really a toss up.
 
Erik Naso said:
One River Media did a test of 10bit footage compared to 8bit and how much more image information 10 bit had. It was impressive. He took a blown out window and brought it down to where you could now see blue ski and clouds. Crazy cool. I want that! This was from the BMDCC.
Click to expand...

I believe you are referring to the test they did between 12bit raw and 8bit h.264, which from what I could tell was more a test between Adobe RAW's handling of DNG RAW vs a YUV source. Most of his findings had little to do with bit depth and everything to do with RAW workflow vs YUV/RGB in Adobe Camera RAW... If you've ever worked with RAW stills and JPGs in Adobe Camera RAW, this should be quite clear.

If you are expecting that a bump up to 10bit output from SDI will give you more latitude or more room to recover highlights or better gamma curves, then you will be very disappointed. It will just give you more levels per color which may help combat posterization, nothing else. If your images are not posterized or you aren't getting any banding/posterization in your grading, you will probably not even notice a difference between 10b and 8b files recorded out of SDI.
 
If you film a pile of leaves and shake your camera, then I can see that HS2 makes a better picture then internal codec,
In all other situations, its kind of the same.

But I must say, filming under water the HS2 codecs are fantastic!
 
XSVpro said:
Hey Erik, have enjoyed your vids on Vimeo. Very much looking forward to the 12-35 one day (will you do a review on ths and the 35-100 soon?)

in regards to tht video you watched, I watched it too and it was pretty amazing but he was showing 12 bit RAW converted to 8 bit compressed against 12 bit RAW. I think a better video to look at (if you can find it) is the F3 video showing its regular 10 bit vs the slog 444 update (was it 444 on the f3?) that was an opener and is more in our realm of what might be possible.
Click to expand...

Thanks! I did a review on my blog http://eriknaso.com/gear-talk/lumix-12-35-g-x-vario-f2-8-ois-lens-review/ I didnt go into test charts since I seen others do this. I went out and shot with the lens outside in bright light and also in very low light using available light only. Then wrote out my thoughts on the lens. Maybe I will do a video with both lenses. Need more time in a day!

Your right about the 12bit to 8bit comparison. My bad. But still very impressive and you can only think 10bit will still give you more to work with in post over 8bit but only with a 10bit source.
 
You must log in or register to reply here.
Back
Top