Next 4K recorder computer review by Alister Chapman (UK)

T

Tony Hernandez

Well-known member
Sony Products Specialist and Director of Photography Alister Chapman review the Cinemartin Next 4K 4:4:4 video recorder / 7" touch monitor and all-in-on DIT computer

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https://www.youtube.com/watch?v=A4rTluuyJ40


http://www.xdcam-user.com/2015/05/a...mpletely-different-the-cinemartin-next-part1/

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Very cool but "why would i ever want to do all of that while I'm shooting". Way to much to deal with in the field. I'm to busy shooting to mess with all that. One bump or drop and that thing is toast prob...
Do post guys do anything anymore, "why am I trans-coding in a field...."
 
I could see this working for some of the TV shows I have worked on where a segment could be put together on the van ride back without having to transfer footage for an edit.

Or being able to transcode and deliver to producers who just want to walk away with a card & footage in format X.

It's definitely different.
 
Very clever idea excuted very well. It actually looks and works like a field recorder!

Not for everyone but will find huge amount of uses, especially in broadcast, news, TV, documentary, studios, live streaming, and even some people in Cinema/film will find it appealing, but not all, the simplicity and straight forward purpose recorder as in the Odyssy Q7+ and Shogun and Pix E5/7 wi
l be more comfortable for those.

Will done, well excuted...
 
Jason Davenport said:
Do post guys do anything anymore, "why am I trans-coding in a field...."
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NO. For every good one, it seems like there are 20 lazy idiots. Why do the people who sit in the climate controlled buildings, get lunch breaks and can go pee whenever they need to get to make our jobs in the field harder and more of a PITA. God forbid they have to think or do something. If you don't spoon feed them everything they complain and throw the field crew under the bus and blame any problems on them. We could start a whole thread on this.

I don't know how many times I've been called or emailed because the "audio was messed up", when in reality the editor was using the wrong channel.

I received a panicked text from a producer a few days ago concerning our shoot from the previous weekend. They couldn't find the main subject interview after ingesting from the drive. "It's not there". Long story short it was because the editor had failed to ingest it. Then he couldn't figure out how to rejoin the clip(it split because it was so big).

And I'm tired of, "We have to have it in X codec, we can't deal with Y codec." So I buy a $15K or $30K camera THEN have to spend a few grand more for an external recorder or internal board so they can have a space hog codec that you can only shoot a few frame rates on and gains you nothing over the native camera codec. I just received an email from an assignment editor saying that everything had to be an .MOV file from now. We've been using .MXF files for several years and now all of a sudden(the last 6 months or so), .MXF has become the plague. How about you download the damn plug-in. Why can Joe Blow with a $500 laptop handle almost any video format/codec on the planet, but your $$$ edit suite can't?

Rant over. For now...
 
lovecameras said:
How does a guy who lives on a rotten council estate in Reading afford such high end gear baffles me.
Click to expand...

Without taking offense, if we look at the positive side to your comment, Alister Champan is doing something which a lot of other folks in this forum are not doing. Location is no longer as important as it used to be earlier for becoming successful. You make your name and then buy an estate in the countryside and live there. Producers will call you when they need you. Some of the work that he does, like chasing storms with a passion, will make people shiver and crap in their pants like anything.

Run&Gun said:
NO. For every good one, it seems like there are 20 lazy idiots. Why do the people who sit in the climate controlled buildings, get lunch breaks and can go pee whenever they need to get to make our jobs in the field harder and more of a PITA. God forbid they have to think or do something. If you don't spoon feed them everything they complain and throw the field crew under the bus and blame any problems on them. We could start a whole thread on this.

I don't know how many times I've been called or emailed because the "audio was messed up", when in reality the editor was using the wrong channel.

I received a panicked text from a producer a few days ago concerning our shoot from the previous weekend. They couldn't find the main subject interview after ingesting from the drive. "It's not there". Long story short it was because the editor had failed to ingest it. Then he couldn't figure out how to rejoin the clip(it split because it was so big).

And I'm tired of, "We have to have it in X codec, we can't deal with Y codec." So I buy a $15K or $30K camera THEN have to spend a few grand more for an external recorder or internal board so they can have a space hog codec that you can only shoot a few frame rates on and gains you nothing over the native camera codec. I just received an email from an assignment editor saying that everything had to be an .MOV file from now. We've been using .MXF files for several years and now all of a sudden(the last 6 months or so), .MXF has become the plague. How about you download the damn plug-in. Why can Joe Blow with a $500 laptop handle almost any video format/codec on the planet, but your $$$ edit suite can't?

Rant over. For now...
Click to expand...

I agree that they ought to have all the plugins to read any kind of file. I am not sure if they hire newbies to man the editing bay. ProRes is increasingly being demanded. RED's new Weapon (camera) even touts the ProRes, albeit at 2K, as a feature.
 
indiawilds said:
I agree that they ought to have all the plugins to read any kind of file. I am not sure if they hire newbies to man the editing bay. ProRes is increasingly being demanded. RED's new Weapon (camera) even touts the ProRes, albeit at 2K, as a feature.
Click to expand...

The feature producers for a big client love the F5/55, especially its high speed. Well, you still have to use the native codec(i.e: NOT ProRes) for HFR(above 60). So why can they handle the native codec without complaining when they want high speed, BUT it HAS to be ProRes or DNxHD for 24(23.98)P?
 
Hello guys, sorry for me too late for replies, I've been very busy..

Hunter Hampton said:
Looks pretty cool- could do some unique applications with this normally done on a laptop.
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It can run very well Premiere, After Effects as well as other apps. We tested even the pointgrey field recorder app, with usb 3 and gigaethernet cameras and the unit work ok.
Of course is available within several Intel Core configurations, but in other words, is like one of the fastest labtobs out there as of now.
 
In a few days, probably in 1 or 2 weeks another review will be posted from a Thailand guys located in Bangkok where on now a unit is traveling to.
Then in sept - Oc. at least 1 or 2 more sources will make other reviews.

Recently we updated the unit, and now ships certified with Windows 10 Pro, all working with the great features w10 comes within (new browser, player, searcher, etc..).

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Above unit support 8-10bit 4K 4:4:4 true uncompressed recording
 

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