Odyssey firmware 2016.06

Now, do I upgrade before my shoot tomorrow? ProRes4444XQ worked great for me last time. Murphy's law tells me ehhhh wait until you have time to play with it
 
I have to check with the engineers. So many new functions I honestly can't recall. I believe we removed some frame rate in DPX when we added Apple ProRes 4444, so I think this restored it.

You guys should try out the improved focus assist with noise reduction. Really sweet.
 
If the 3:2 pulldown feature works to turn the 23.98 pSf into true 23.98 progressive then this is great news for F35 owners. I know there are technically no downside to pSf, however I have seen compatibility issues that result in interlacing artifacts so getting 23.98 P from the F35 goes a long way in making it the same format as modern cameras.
 
Noise reduction on the peaking makes it MASSIVELY more effective. What a great solution, send my thanks to your team Mitch!
 
I think with the new update the 50p got ruined. The Odyssey tries to interpret the dual link as two separate cameras and gets confused. It does seem to work on DPX tough. BUt on prores, no chance.
 
Also the prores 444 12bit still clips the signal, it shows video levels instead of full range levels.
DPX recording works fine though and shows full range levels.
I thought this had been solved already.
 
This is not a dig on any manufacturers, but I have tested all the usual recorders and I decided to stick with the basics. Because they were temperamental at best.

Apart from the usual fix this but break that issues, there are also cable complications and all sorts of compatibility problems that only show up at the moments you can least deal with it.

A perfect recorder for me is the set it up once and forget it type.

So all the incompatibilities issues, plus the questionable building of some, added to the fact I prefer a recorder that can be "permanently" attached to the camera and don't really need or like a television set on top of my camera, all the above drove me away from the third party 2-in-1 one-size-fits-all monitor-recorders.

I want to take the camera off the case, set it on a tripod, put a lens on and shoot. I don't want to have to mess with plugging cables every time, going through settings, messing with Nato arms, and change configurations every time I need to change shooting modes. Simple is always better. Native is always simpler. But it may not always be the cheapest.

When I see people mentioning the F35 is a complex system to work with, I'm always incline to add, only if you want it to be. To me it's as easy as using an Alexa or even Amira.
 
Does this look right to you guys; cam set to 444 12bit, Odyssey set to prores444. Nuke metadata is showing the file as 10bit:

Screen Shot 2016-06-29 at 6.02.53 PM.jpg
 
macgregor said:
Also the prores 444 12bit still clips the signal, it shows video levels instead of full range levels.
DPX recording works fine though and shows full range levels.
I thought this had been solved already.
Click to expand...

I just did a project recording out 12bit dual link to prores4444xq and when I pulled into resolve I saw up to 110ire being recorded. Can't remember if the waveform showed this on the Odyssey- can't imagine why it wouldn't. In resolve I had to make the clips show full levels though, as per usual
 
Here's a test with the latest Odyssey firmware and the latest davinci resolve for Mac OS that shows the clipping problem with prores4444.

I intentionally exposed the image so that the brigthest part of the phone screen would be between 100IRE-109IRE, using the Odyssey waveform.

First a DPX capture:
v1.dpx._1.1.1.jpg
And the waveform in Davinci:
Screen%20Shot%202016-07-04%20at%2012.38.40%20PM.png

As you can see there, nothing seems clipped.


Same camera settings, this time capturing in prores 4444xq:
v1.prores._1.2.1.jpg

I can defintely see how the grey areas on the screen are now mostly lost.
Here's the waveform:
Screen%20Shot%202016-07-04%20at%2012.38.48%20PM.png


I did the same test on prores4444 but same results, so not worth it testing.

And finally and to prove my point, I shot the same thing on prores422HQ:
v1.prores._1.2.2.jpg

It looks the same as the prores4444, only for now...


OK so the F35 and all Slog cameras will go beyond 100IRE, and the problem with prores422 is that it only expects limited range (video levels) video feed, so it only shows that range on playback. But we can revert this easily by changing the clip properties on Davinci from video levels to full levels. However on prores4444 this shouldn't happen we should have the full range from the start. And no matte if we try to force davinci by setting the clip to full range, it won't show us the whole range that was captured.

Here's how the clip shot on prores422HQ looks like once switched to full range:
v1.prores._1.2.2.jpg

Identical to the DPX capture, nothing is clipped.
Screen%20Shot%202016-07-04%20at%2012.38.56%20PM.png


And this is how the prores4444 clip looks before and after we sw



Screen%20Shot%202016-07-04%20at%2012.38.48%20PM.png

No difference whatsoever.

Even if we try to bring down highlights to see if we can recover some info... nope ,no chance, the image is clipped.
Screen%20Shot%202016-07-04%20at%2012.39.15%20PM.png
 
The issue is with Resolve, not the Odyssey. The Odyssey records everything right up to 109% (and down to -7%) but when Resolve decodes ProRes4444 (and XQ) it clamps at 100%. Resolve also adds extra confusion by treating the clip ranges of ProRes4444 differently to other ProRes variants. With "data" selected it maps the 0 to 100% to it's internal 0-1 range. For other ProRes formats "data" maps -7 to 109% to 0-1.

It is a problem with ProRes4444. Many applications "assume" ProRes444 contains only RGB data in the 0 to 100% range, and clamps to that. Adobe applications also do so. You can see the entire range of the data in a ProRes4444 file if you open it in ScopeBox, for example. Nuke can also read it, although not with the default Read node settings (you need to choose the mov32 decoder and a YCbCr pixel format). Baselight can also do so.
 
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