Hyperdeck Shuttle 2 now does ProRes.

This is excellent news. Run an F3 with the ability to shoot HD uncompressed, Dnx or ProRes for a bargain of a price.
 
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I've got a HyperDeck Shuttle 2. Quite like it but I will stick with DNxHD. I haven't forgiven Apple for what they did to our industry with the FCP and have migrated my primary production tools away from Apple products. Who knows they may kill QuickTime 7. I don't trust them anymore.
 
aalleexx said:
I wonder what would create a better flat image using this shuttle to prores, the c300, F3 or scarlet??
Click to expand...

Once you start shooting uncompressed or near lossless codec the camera itself doesn't matter as much as the bit rate and color space out the SDI port:

Camera SDI port outputs:
C300: 8-bit 422
F3: 10-bit 422 or 10-bit 444 with RGB upgrade
Scarlet: 10-bit 422

My opinion:
I have done an extensive amount of work this year with the F3 in and out of SLOG mode and mostly in 8-bit 420 (35mbps) capacity. Some of it quite surprisingly good. (see the recenty Movember web-series I DOP'd and shot with the F3 for more details in the DVX cafe)

I would honestly say that for "everyday" type of work and "everyday" type of grading 8-bit is enough providing you get your exposure consistently in-camera for the tones you really want to preserve. 8-bit will only give you 240'ish levels of grey information and once you divide that by the dynamic range of the camera in stops you will get an idea of how many levels (grades) you are left with per stop. ie. 20'ish levels per stop. Now imagine you will contort your image in post pushing different tonal areas of the image up or down. You might easily conclude that 8-bit is enough for most things but you will definitely be working within some limits.

10-bit on the other hand offers you 1020 levels of grey. Divide that by your cameras dynamic range in stops, and you can easily see you will end up with FOUR TIMES the level of gradients per stop as you would with 8-bit. 80'ish levels per stop. This gives you a lot of lattitude in post to really mess with the grade before images start to posterize.

12-bit is even more powerful. 16-bit = crazy absurd amount of steps per stop.

If you want to see the craziest example of pushing images in post (which is not "every day" but nonetheless cool) check out this post #38 on REDUSER using 16-bit RAW.
 
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That is great insight there bud, I am so tore between the c100 with shuttle and the scarlet with shuttle, I know I am not going to shoot raw, my time will not allow it, I need prores no matter what, I know the c300 without the shuttle is on par with what I would get in prores from the c100 and scarlet maybe? I must make a choice soon :(
by the way is the sensor on the c100 and c300 the same? I know the c300 has a 4k sensor that results in beautiful 1080p



starcentral said:
Once you start shooting uncompressed or near lossless codec the camera itself doesn't matter as much as the bit rate and color space out the SDI port:

Camera SDI port outputs:
C300: 8-bit 422
F3: 10-bit 422 or 10-bit 444 with RGB upgrade
Scarlet: 10-bit 422

My opinion:
I have done an extensive amount of work this year with the F3 in and out of SLOG mode and mostly in 8-bit 420 (35mbps) capacity. Some of it quite surprisingly good. (see the recenty Movember web-series I DOP'd and shot with the F3 for more details in the DVX cafe)

I would honestly say that for "everyday" type of work and "everyday" type of grading 8-bit is enough providing you get your exposure consistently in-camera for the tones you really want to preserve. 8-bit will only give you 240'ish levels of grey information and once you divide that by the dynamic range of the camera in stops you will get an idea of how many levels (grades) you are left with per stop. ie. 20'ish levels per stop. Now imagine you will contort your image in post pushing different tonal areas of the image up or down. You might easily conclude that 8-bit is enough for most things but you will definitely be working within some limits.

10-bit on the other hand offers you 1020 levels of grey. Divide that by your cameras dynamic range in stops, and you can easily see you will end up with FOUR TIMES the level of gradients per stop as you would with 8-bit. 80'ish levels per stop. This gives you a lot of lattitude in post to really mess with the grade before images start to posterize.

12-bit is even more powerful. 16-bit = crazy absurd amount of steps per stop.

If you want to see the craziest example of pushing images in post (which is not "every day" but nonetheless cool) check out this post #38 on REDUSER using 16-bit RAW.
Click to expand...
 
JPM Photography said:
That is absolutely ridiculous... I love it!
Click to expand...

look at the still called "bill barnes" - I mean you would probably NEVER use that in a million years, but that's not the point. That's like taking your curves to the extreme, and somehow oddly enough the image still holds up and looks usable. Jeeez....
 
Anyone know of a 3rd party cheese plate or another way t mount it to the camera? the stock one is really heavy.
 
I gotta imagine they used some standard hole patterns, but sorry I don't know any confirmed plates. I like the Zacuto cheeseplate with rail clamps on both ends of the plate. Offers some flexibility down the road to do some interesting things.
 
Hey guys, I'm having trouble here. I'm trying to record 720p 60p to the shuttle from the f3. Can any of you tell me how to do this? I tried plugging into sdiA or the SDI out plugs, and I can't get it to work. :(
 
Yes, I was told to switch from the SDI A plug (that I normally use for 1080/23.97p) to the SDI out plug (when switching to 720/59.95p), and I don't get a signal to the Shuttle.
 
You definitely have to use SDI out plug for 720p/60, so it has to be something in your menu settings. If you don't mind losing your picture profiles you might have created, do a reset on the camera to put everything back to default.
 
Dennis can you give me any insight as to the menu settings? I kept all the settings the same to get 1080/23.98p to work and only went into system/framerates and changed to 720/59.95p and moved the plug to SDI out, do I need to change anything else to get this to work?

If I absolutely have to I guess I'll reset the camera but I'm hoping to keep that as a last resort.
 
how do you know you don't get signal to shuttle? what are you using to confirm?

As for the F3 settings, make sure "HD SDI" or "SD SDI" is set under "SDI/HDMI/i.Link Select".
 
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