New firmware! Odyssey 7Q & + firmware 5

Mitch, just wanted to say thank you for the amazing work on the recent firmware. 4k2hd 100fps is what I was waiting for. You released the firmware the night before I started a large documentary project and having 100fps in 4k2hd has really made getting those HFR shots easier. The image looks stunning! Thanks again
 
Can you explain how the 7Q and camera need to be configured to record 4K2HD 120fps bursts?

I'm keep getting a "format unsupported" message.

Thanks
 
What's the guideline for when you need to do the 3min program reload into memory? Is there only room to have 2 programs stored plus regular hd mode? Is it possible for CD to consolidate the fs raw to ProRes programs into one mode with selectable recording resolutions like the way you can select ProRes flavors without loading a different program? As in it would auto detect 4k/2k raw and then you just select the recording resolution from 4k/uhd/2k/hd and ProRes flavor... That would be so much more convenient. I dread having to switch modes on set to get different framerates or functionality and getting stuck loading a new program for 3+minutes while the whole production is waiting for me!
 
We are looking at ways to minimize the scenarios in which ne needs to reload the system. Currently the suggested method is to load the two that you would use most of the time and then it is only a few seconds to switch between them.
 
Mitch Gross said:
We are looking at ways to minimize the scenarios in which ne needs to reload the system. Currently the suggested method is to load the two that you would use most of the time and then it is only a few seconds to switch between them.
Click to expand...

Is this still working?

I use raw so rarely, but i remember having to load, and load, and load, alot more now. It seems just 1 profile is loaded at any given time. No?
 
No, think of it this way. There are two "slots". So if you load 4K2HD in one slot and 4KtoRAW in the other slot...you can flip back and forth all day long with no delay.

if you use one codec a lot, just make sure you keep that one loaded in the same slot. So if you want to move to a third codec, switch to 4KtoRAW first, make the switch and then when you want to go back to 4K2HD, it's still in it's slot.

If you were to make the switch while you were still in 4K2HD, then you would be replacing that one and would need to wait the 3 minutes to reload it later.

make sense?
 
Two profiles loaded. First time you load up a new profile takes three minutes. But switch back & forth between to and it is just a few seconds.
 
I can't seem to get the 4K2HD burst to work at all. At 4K super-slow, I get color bars and "unsupported format" on the 7Q, the camera won't go past "Preparing..."

At 2K super-slow, I get this:




4K RAW>RAW DNG seems to work fine.

Any help is appreciated.
 
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I've only seen that when I had the output on the FS700 still set to 60P. As soon as I turned it to 24 or 30P, everything worked fine. You can record 4K>RAW at 60P, but not when going to Prores.

If you're trying to do 120P, set your 4K output on the FS700 to 24/25/30P and then go into S&Q, set your framerate to 120 and then attach your SDI cable to the 7Q.
 
seanmc said:
I've only seen that when I had the output on the FS700 still set to 60P. As soon as I turned it to 24 or 30P, everything worked fine. You can record 4K>RAW at 60P, but not when going to Prores.

If you're trying to do 120P, set your 4K output on the FS700 to 24/25/30P and then go into S&Q, set your framerate to 120 and then attach your SDI cable to the 7Q.
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Thanks for your response, but it makes no difference what frame rate the camera is set to. 24, 30 & 60 all yield this same result. Reinstalled the latest update, tried different cables, nothing seems to be doing the job...
 
Mitch Gross said:
Indeed, we have an aggressive plan to continue growing the functionality of the Odyssey product line. As much as I'm excited by what we just released in this latest firmware, I'm more excited by what will be in the next one. And the one after that. And the one that follows. And we keep on going.

Remember, we are planning to release something once a month for at least the next few months. That's twice the rate of firmware updates as last year. We have hired additional staff in all departments and we mean to do this right. The success of the Odyssey products helped Convergent Design grow revenue fourfold last year and double its facility space. We're putting all of that to good use.
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Well, that's encouraging, since I was waiting to get ProRes 444 with this update.

Btw, since you're the expert, I have an issue, most likely due to being a newbie at this. I have FS700+C7Q combo with Canon's CN7x17 lens. I recorded 4K ProRes 422 file just to test things, and it is quite noisy in the shadows in comparison to 4K RAW. I know this is probably more a camera issue than C7Q issue, but what C7Q IRE levels shown in the OLED you would consider safe to keeping shadows clean? Also, how much can I go over 109 IRE (or none?) before I can't pull highlights back in Resolve?
 
Timo Flink said:
Well, that's encouraging, since I was waiting to get ProRes 444 with this update.

Btw, since you're the expert, I have an issue, most likely due to being a newbie at this. I have FS700+C7Q combo with Canon's CN7x17 lens. I recorded 4K ProRes 422 file just to test things, and it is quite noisy in the shadows in comparison to 4K RAW. I know this is probably more a camera issue than C7Q issue, but what C7Q IRE levels shown in the OLED you would consider safe to keeping shadows clean? Also, how much can I go over 109 IRE (or none?) before I can't pull highlights back in Resolve?
Click to expand...

I have lifted my false colors levels about 10-20 IRE in general, to get noiseless pictures. I consider everything below 20 as black...

Yes, it sacrifices some DR, but its just about balancing with light, and the DR is there if i need it in a pinch. For example nature photography where i cant light the whole mountain...
 
Martin.G said:
I have lifted my false colors levels about 10-20 IRE in general, to get noiseless pictures. I consider everything below 20 as black...

Yes, it sacrifices some DR, but its just about balancing with light, and the DR is there if i need it in a pinch. For example nature photography where i cant light the whole mountain...
Click to expand...

I take it IRE 20-100 is safe then?
 
Do not take my word for it, but test some shots using 20-100 IRE and see what you think, compared to shots done over 0-100 IRE.

You may get away with 10-100 IRE after all...
 
If your source(in the camera) is Slog2 RAW, I would suggest trying several approaches. The simplest approach, and therefore the most error prone) is to simply expose to the right (ETTR). Place your highlites at the right edge of the histogram. Other exposure techniques that will result in more often correct exposures include:
1-turn on the LUT and expose so that the brightest hilites are at 90% IRE.
2-leave the LUT off and expose white to 59% IRE.
3-leave the LUT off and expose skin tones to 50%
4-leave the LUT off and expose 18% gray to 32%
 
The source is Slog2 RAW. My problem is that while 4K RAW in C7Q appears to give rather noiseless output, doing the same with 4K RAW to 4K ProRes doesn't. This puzzles me. Anything below 15 IRE has notable amount of noise. So, atm, recording RAW and converting that to ProRes in Resolve gives better results than doing ProRes direct in C7Q. So, I am wondering what I do wrong :) But then again, I have no idea what's the bitrate for 4K 422 in C7Q. The manuals speak about 220mbps, but that is for HD 29.97p. Anybody know the actual bitrate for 4K 422(HQ)?
 
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