Sony F35 at 12bit 444

[Viddovation]

I this per card or with the 2 cards together?

How you get around the HDCAM SR codec only limitation?

Per card. I was being lazy in my answer and going by memory instead of looking it up. Here, page 11:
http://blog.abelcine.com/wp-content/uploads/2011/09/Sony_SRMasterFamily.pdf
*Please note, this brochure doesn't include the 12bit RGB 444. The 444 shown is for 10bit.

It's all the Sony SRMaster codec, but it's a family of codecs, in the same way ProRes is. There's a Lite and an SQ variant for the 422 material.

So, at 23.98 you'll get 77 minutes in 422 SR-SQ, or 142 in SR-Lite. 10bit 444 SR-HQ is 40 minutes, and I think the 12bit stuff runs more like 34 or 36 minutes.

Also, I should point out that on the storage side it comes out smaller. I know that sounds odd, but I think it has to do with spare space saved for the 16 tracks of audio available on the recorder. I've had a full card that reads 254GB come out at around 204GB on the storage side.


EDIT: For the feature we used 10bit 422 SR-SQ. But actually, we were frequently recording two cameras to the recorder, genlocked. So effectively it was only 33 minutes run time. For various reasons, including that it was a two camera set, and the director's style, that was typically enough for 6 hours. On other sets that wouldn't work, obviously. If the client is paying enough, rental is an option. I will say the SR-SQ 10 bit 422 is sufficient for work that doesn't need to go through heavy post FX, works just fine. Years beyond ProRes in my opinion.

 

[SJX]

If it's per card it's not that bad actually.

I see for SR-HQ you need a special board SRK-R311? SR-HQ is only 12 bit 444 correct?

Can you tell about your post workflow with SR codec? Is not as popular as Prores or Dnxhd.

Can you post pic of your cam? I remember the SR-R1 made it quite long in the back and back heavy?

Davinci works with it?

Thank you.

 

[Viddovation]

If it's per card it's not that bad actually.

I see for SR-HQ you need a special board SRK-R311? SR-HQ is only 12 bit 444 correct?

Can you tell about your post workflow with SR codec? Is not as popular as Prores or Dnxhd.

Can you post pic of your cam? I remember the SR-R1 made it quite long in the back and back heavy?

Davinci works with it?

Thank you.

No, you don't need SRK-R311. To the best of my knowledge SRK-R311 was never released, and is essentially vaporware. Another roadmap item that quietly disappeared because of lackluster sales and market that moved too fast. Essentially, the uncompressed options that would have been part of the SRK-R311 will probably never happen, HQ modes for 10bit YUV will never happen, but we were given the concession prize of free firmware enabling HQ for 444 10bit and 12bit. Then again, the compression is just excellent. This is, afterall, Sony's top of the line 1080p file based codec. If you really absolutely need uncompressed, it costs $350 from Blackmagic Design. And if you think you need uncompressed for 50p or 444... you're probably wrong.

The SR codec works perfectly with DaVinci. For small projects it might seem like a hassle to start in DaVinci and make proxies, but on larger projects you'd essentially do that anyway, filing your reels, making dailies, linking sound.

Essentially, your DIT is going to log each card as a reel to the storage drives. 001, 002, 003, etc. Preferably, the audio operator will switch their cards at the same time as the video cards are switched. If your time code has been jammed by the audio operator DaVinci will be able to sync the timecode to the audio files. You just need to handle each reel as a separate timeline. DaVinci can also conform 50p files to play back at 23.98. You can apply a LUT if you like for the editor, and then it's essentially off to the Delivery tab. You'll render out each file separately, based on it's original file name, with separate folders for each reel rendered (001,002,003, etc). This render out is in whatever codec you please - ProRes, Avid, etc. Works Mac or PC. Then you edit off the proxies. When the edit is completed, you import the XML/EDL into the same DaVinci project. Based on the reels, timecode, etc. DaVinci automatically links back to the original master files. You then are ready to color grade.

That's the short version.

As for the pic, here's a thread: http://www.dvxuser.com/V6/showthread.php?319805-Docking-the-Sony-SR-R1-to-the-Sony-F35

That said, I'm working on a V3 that will make it much more analogous to the F65 when on house power (I'm getting an Anton Bauer DT-500 to use the 8-pin Lemo). Essentially, I'm going to build a custom dock for it that integrates the circuit board from the IF box, and runs the video signals directly into the recorder (no external cables). So, there's more than one way to skin the cat.

 

[Hunterqual]

Maybe this is the right topic for discussing Prores 4444 and the perceived issue of it clipping at 100IRE instead of 109. See LeavingTheCandy's tests in the massive original thread for the first mention that I know of this. I'm not super technical, so please forgive me if I use terms incorrectly.

I've been doing camera tests over the past few days, messing with the different menu options in the F35, all in Custom mode. Namely, I've been working to get the nicest looking, lowest noise flavor of Prores 4444 12 bit possible.

I'm running the Aja 3GM multiplexer into a Pix 240i with the latest (3.51) firmware update.

While I've never had trouble getting full superwhites up to 1024 in Resolve's waveform monitor, I think I was able to replicate the problem that some are having with their Prores whites only going to 940. The only way that I was able to replicate this in my own tests is by changing my camera settings from "Extended" to "Normal". This visibly has an effect in the monitor/viewfinder, and the results bare this out on the waveform -- Normal clips at 100IRE, while Extended uses the full range. This is true whether you're shooting in 10 bit or 12 bit Prores 4444.

As long as I have the camera set to "Extended" rather than "Normal", I get all my whites data.

I wonder if anyone who was having this trouble can add to the discussion by telling us what settings they were using in their cameras?

 

[SJX]

The SR codec works perfectly with DaVinci. For small projects it might seem like a hassle to start in DaVinci and make proxies, but on larger projects you'd essentially do that anyway, filing your reels, making dailies, linking sound.

I really don't look forward to go back to offline online workflow. But there is no NLE that lets you edit natively?

That said, I'm working on a V3 that will make it much more analogous to the F65 when on house power (I'm getting an Anton Bauer DT-500 to use the 8-pin Lemo). Essentially, I'm going to build a custom dock for it that integrates the circuit board from the IF box, and runs the video signals directly into the recorder (no external cables). So, there's more than one way to skin the cat.

Sounds interesting. But is not probably easier to buy the PIM-SR then? Sounds like lots of work and like it wont be cheap.



I see the SR-R1 has audio inputs and even earphone and monitor knob. I wonder why since it doesn't have audio meters. Does it send audio meters to F3 LCD or something?

Is the SR-R1 like a normal deck? Can you playback with it for previewing? If you can couldn't you just ingest from it with normal SDI card?

 

[Viddovation]

I really don't look forward to go back to offline online workflow. But there is no NLE that lets you edit natively?

Sony Vegas should edit them natively.

FCP X should edit them with a free plugin, although you'll need to rewrap them to .mov with the SR Viewer first. May support FCP 7 as well.
http://www.sonycreativesoftware.com/srpm-10

Avid will edit it with a free plugin.
http://www.sonycreativesoftware.com/srpa-10

Keep in mind these SR codecs are also on the Sony F5/F55, so support for them will continue even if the F35/SRR1 fade.

Sounds interesting. But is not probably easier to buy the PIM-SR then? Sounds like lots of work and like it wont be cheap.

Really depends on how you're sourcing parts. For me, this is both cheaper, and ultimately cleaner. I lucked into a few things at auction, including a spare IF box, for ridiculously little money (I can't remember, but I think I paid like $200 or less for the IF box). Of course, you could always butcher your only IF box, but that has some added risk, and you lose flexibility. And I don't expect machining the part to run over $500. Then, I paid $110 or so for a docking piece of metal from Sony parts. A few machine bolts, at $5 total, and you're good to go for under $1,000. But who knows, maybe you find a Pim-SR on ebay or a dusty shelf for $100 flat. It's a wierd market now.

I've never used the Pim-SR, but from reading on it, there are a few things worth noting:
1. It expects you to use the v-lock mounting kit available for the SR-R1, the SRK-R302. You can get that now for $470. Used to be more. But add that to your Pim-SR cost.
2. The Pim-SR doesn't wire internally, so you'll still have to attach the BNC cables from the Pim-SR to your SR-R1.

With the next version of my mod, the wiring will move internally, so ACs and such can simply dock/undock the recorder, and never have to worry about wiring the camera record cables. I may also be able to wire the power internally off the camera as well.

I see the SR-R1 has audio inputs and even earphone and monitor knob. I wonder why since it doesn't have audio meters. Does it send audio meters to F3 LCD or something?

The SR-R1 does not send any communication back to the camera, audio or otherwise. The SR-R1 can accomodate up to 16 channels of audio. There's an AUX SDI input that can be used to feed those signals if desired. The remote panel for the SR-R1 will show you alll 16 channels of audio levels. You have very minimal control of input volumes, in addition to the standard line/mic/+48 toggles. If you use a standard IF box, it's pretty easy to set the recorder up for four channels of recorded audio (2 from the IF box, 2 from the recorder). In my rig I'm not going to worry about that. I really only need clean scratch tracks the production can match with what the audio guy records.

Is the SR-R1 like a normal deck? Can you playback with it for previewing? If you can couldn't you just ingest from it with normal SDI card?

Playback is absolutely possible. For video village and for offload. There's even a special menu setting you can use to instruct it to start ingest. So SDI offload at realtime is possible. You just to have support for the same framerate/color space on that card. That said, the recorder can absolutely downconvert on the fly.

 

[SJX]

Keep in mind these SR codecs are also on the Sony F5/F55, so support for them will continue even if the F35/SRR1 fade.

But only for HD if I'm not wrong. Once HD is gone SR will too. But then probably F35 too.

Really depends on how you're sourcing parts. For me, this is both cheaper, and ultimately cleaner. I lucked into a few things at auction, including a spare IF box, for ridiculously little money (I can't remember, but I think I paid like $200 or less for the IF box). Of course, you could always butcher your only IF box, but that has some added risk, and you lose flexibility.

What risk and what flexibility?

The SR-R1 does not send any communication back to the camera, audio or otherwise. The SR-R1 can accomodate up to 16 channels of audio. There's an AUX SDI input that can be used to feed those signals if desired.

Sending it to a proper audio recorder?

The remote panel for the SR-R1 will show you alll 16 channels of audio levels. You have very minimal control of input volumes, in addition to the standard line/mic/+48 toggles.

So if you want you can't properly record audio with the SR-R1? If the levels control is limited. This is strange specially that it is made for F3. Most F3 users probably record audio in camera.

If you use a standard IF box, it's pretty easy to set the recorder up for four channels of recorded audio (2 from the IF box, 2 from the recorder). In my rig I'm not going to worry about that. I really only need clean scratch tracks the production can match with what the audio guy records.

Talking about scratch tracks I wonder if SR codec will work with Pluraleyes. I know timecode is the pro way. Just wondering.

Playback is absolutely possible. For video village and for offload. There's even a special menu setting you can use to instruct it to start ingest. So SDI offload at realtime is possible. You just to have support for the same framerate/color space on that card. That said, the recorder can absolutely downconvert on the fly.

This is interesting. So if you want you need no card reader at bare minimum? But you basically back to tape days. The SRExpress you linked does not capture 12 bit by the way. Only 10 bit.

 

[Mitch Gross]

Really? Surprising given it is sold as a professional piece of kit. Mitch, are there plans to fix this? This is a deal breaker.

Even the cheap Hyperdeck seems to generate it's own timecode.

There is "seed" timecode, but currently not a traditional timecode generator. Early on I pegged this as a must-have and we do have the capability in the machine, so it is on the list.

 

[Viddovation]

But only for HD if I'm not wrong. Once HD is gone SR will too. But then probably F35 too.

Yes, only HD. But this is basically the top end of HD recording. It'll likely be around as long as Sony is bothering to do anything in 1080p. Given how slowly world broadcast markets upgrade, that might be awhile. But you never know anything for certain.

What risk and what flexibility?

Well, if you only have one IF box, and you dismantle it to make it part of an assembly for the SR-R1, then you don't have that IF box available to suddenly record on a Hyperdeck or an Atomos Samurai, or whatever. Which could happen - client A wants high end, likes the SRR1, next client has his own Samurai, wants ProRes. You'd still have the camera monitor ports I guess, or could run it through the SR-R1 outputs, but that's kind of clunky. Hence, less flexibility. As for the risk, well, taking apart expensive electronics and rewiring them has the risk of damaging things in the process. The Pim-SR is less risk since you buy a completed unit, perhaps even with a warranty.

Sending it to a proper audio recorder?

Sixteen channels of audio input. I can't comment really on the idea of outputting audio from the SR-R1. It's going to be embedded in the SDI, so I guess you could extract it. But the idea isn't to feed from the SR-R1 to an audio recorder - it's the reverse. Honestly, most people will never bother with all those audio tracks. And to use them you either need to multiplex them onto the input SDI, or onto the aux SDI channel. It's a bit of a hassle. I've never done it. But let's say you're recording a live music performance. You could take the sound board output, and discretely, channel by channel (instrument by instrument) output them to an SDI multiplexer/embedder. Then feed that multiplexed signal to the Aux input on the camera. Ditto for multiple actor mics.

So if you want you can't properly record audio with the SR-R1? If the levels control is limited. This is strange specially that it is made for F3. Most F3 users probably record audio in camera.

You can properly record audio. You just can't properly mix audio. It's not a mixer, and does not replace a mixer.

Talking about scratch tracks I wonder if SR codec will work with Pluraleyes. I know timecode is the pro way. Just wondering.

It certainly should. 48khz, 24bit... the audio isn't "SR codec". It's something standard.

This is interesting. So if you want you need no card reader at bare minimum? But you basically back to tape days. The SRExpress you linked does not capture 12 bit by the way. Only 10 bit.

How did you determine that? I beleive you're wrong. As I wrote before, the SRExpress is not a standard SDI connection. It's a proprietary digital data stream. It transfers .mxf files from the SR-R1 to the computer at faster than real time speeds. As it is transfering *files* whether the card only supports 10bit SDI usually or not is *not* a factor. The manual for SRExpress says nothing about the exclusion you're suggesting.

 

[Mitch Gross]

Well the O7Q base is only 1080p 10bit 422 YUV. That's what I gleaned from their webpage. For the FS700 1080p 12bit RGB 444 and 10bit YUV 50p/60p 422 is part of the $795 paid featureset currently labeled as "Sony". So, I don't expect they'll let you use it for free...

The FS700 Record Option is for functions specific to that camera. We take the RAW output of that camera - and it is a RAW signal structure unique to that single model - and convert it into several different formats. $K RAW, 2K RAW, as well as video conversions including the 444 format you note.

But if a signal was to be a standard one that would be something output by several different cameras, then it would not fall under such a specialized record option, but instead be made available to anyone with an Odyssey7Q. Currently we do this in HD in 4:4:4 DPX and Apple ProRes 422(HQ). As we add more formats and features, the ones that can be used on various cameras will be made open to all.

Just how many different cameras output HD 4:4:4 in 12-bit? I can think of a few, but not many. How many will buy an Odyssey7Q if we add the feature?

 

[Viddovation]

The FS700 Record Option is for functions specific to that camera. We take the RAW output of that camera - and it is a RAW signal structure unique to that single model - and convert it into several different formats. $K RAW, 2K RAW, as well as video conversions including the 444 format you note.

But if a signal was to be a standard one that would be something output by several different cameras, then it would not fall under such a specialized record option, but instead be made available to anyone with an Odyssey7Q. Currently we do this in HD in 4:4:4 DPX and Apple ProRes 422(HQ). As we add more formats and features, the ones that can be used on various cameras will be made open to all.

Just how many different cameras output HD 4:4:4 in 12-bit? I can think of a few, but not many. How many will buy an Odyssey7Q if we add the feature?

Just to be clear Mitch, I meant no disrespect. Given that I already own Sony's SR-R1, I wouldn't have an incentive to buy your recorder for the 12bit RGB 444.

That said... I would be very interested in buying a O7Q if for an $800 "F35" license I got 12bit RGB 444, Select FPS, and Ramping support. I don't know if the effort to reward ratio is right for CD, but I think that offering would convert a lot of us on this forum. The ramping and Select FPS is the feature we all crave that is only known to be supported by the SRW-1 (heavy, tapes, power hungry) and the Codex (rare, expensive data mags, expensive dock). Even the Sony SR-R1, which has hardware that should support these features doesn't have them implemented in firmware, and likely never will.

Who wants an O7Q license that supports 12bit, Ramping, and Select FPS?

 

[Mitch Gross]

Just to be clear Mitch, I meant no disrespect. Given that I already own Sony's SR-R1, I wouldn't have an incentive to buy your recorder for the 12bit RGB 444.

That said... I would be very interested in buying a O7Q if for an $800 "F35" license I got 12bit RGB 444, Select FPS, and Ramping support. I don't know if the effort to reward ratio is right for CD, but I think that offering would convert a lot of us on this forum. The ramping and Select FPS is the feature we all crave that is only known to be supported by the SRW-1 (heavy, tapes, power hungry) and the Codex (rare, expensive data mags, expensive dock). Even the Sony SR-R1, which has hardware that should support these features doesn't have them implemented in firmware, and likely never will.

Who wants an O7Q license that supports 12bit, Ramping, and Select FPS?

I didn't see any disrespect, I just wanted to clarify what the Odyssey does and does not do and why.

If there are enough people who would want these F35-specific functions then we would consider building such an option. But there are only a few hundred cameras and not all of them will be adopting the Odyssey. I have no idea what it would take for us to do what you ask. It's a question for our engineering team, and then a decision by management.

Please let me know how many of you would seriously consider buying the Odyssey if we did as suggested above.

 

[skatajkid]

I already own one (an O7Q) but I would definitely like AT LEAST 12 bit 444. I would probably pay for the upgrade as well if it unlocked all the F35's secrets. Just putting in my 2¢ as well.

 

[Viddovation]

I didn't see any disrespect, I just wanted to clarify what the Odyssey does and does not do and why.

If there are enough people who would want these F35-specific functions then we would consider building such an option. But there are only a few hundred cameras and not all of them will be adopting the Odyssey. I have no idea what it would take for us to do what you ask. It's a question for our engineering team, and then a decision by management.

Please let me know how many of you would seriously consider buying the Odyssey if we did as suggested above.

Mitch,

Completely understand.

In terms of development, all I can really add that might be minorly useful is the following: my suspicion is that the when using Select FPS or Ramping the camera is embedding a DID package flag in the HANC (Horizontal Acillary Data) of the SDI stream to indicate which frames are "real". I did testing using my camera and the Blackmagic Decklink SDK and could find no indication of such a flag in the VANC. The SDK wouldn't let me read the HANC, unfortunately. I think it must be a flag in the SDI stream, because the camera is supposed to work with the SRW-1 even when remotely cabled by SDI, and I recall no disclaimers in the manual saying that ramping or Select FPS would not work in this scenario. Perhaps that gives a clue on where to begin the process, should CD even choose to remotely explore it. Also, for what it's worth - the Sony F3 has similar Select FPS settings, that aren't exactly the same, but are apparently similar. A development effort for one camera might be partially applied to the other. And from a sales standpoint, there are a lot more PMW-F3 cameras out there with owners who might appreciate 1080p select FPS.

 

[SJX]

Sixteen channels of audio input. I can't comment really on the idea of outputting audio from the SR-R1. It's going to be embedded in the SDI, so I guess you could extract it. But the idea isn't to feed from the SR-R1 to an audio recorder - it's the reverse. Honestly, most people will never bother with all those audio tracks. And to use them you either need to multiplex them onto the input SDI, or onto the aux SDI channel. It's a bit of a hassle. I've never done it. But let's say you're recording a live music performance. You could take the sound board output, and discretely, channel by channel (instrument by instrument) output them to an SDI multiplexer/embedder. Then feed that multiplexed signal to the Aux input on the camera. Ditto for multiple actor mics.

Sorry somehow I read Aux output instead of input.

You can properly record audio. You just can't properly mix audio. It's not a mixer, and does not replace a mixer.

This is what I meant. You can't properly record audio with SR-R1 alone because you said levels control is very limited? Like if you want you can record audio in F3 without any external recorder or mixers. I know this camera is made for big crew and extra soundman. I'm just trying to understand if features in SR-R1 change anything or offer more features to record audio.

This is only advantage of 9000PL. It has levels knobs like any broadcast camera so if you ever need you can record audio normally with it without anything external, like F3.

But it has audio meters in the LCD of the controller?

It certainly should. 48khz, 24bit... the audio isn't "SR codec". It's something standard.

But not only about audio. Pluraleyes must be able to import SR codec to sync with video.

How did you determine that? I beleive you're wrong. As I wrote before, the SRExpress is not a standard SDI connection. It's a proprietary digital data stream. It transfers .mxf files from the SR-R1 to the computer at faster than real time speeds. As it is transfering *files* whether the card only supports 10bit SDI usually or not is *not* a factor. The manual for SRExpress says nothing about the exclusion you're suggesting.

I'm probably wrong then. The cards don't work with 12 bit so I thought it didn't work. But if data transfer maybe it works.

 

[SJX]

There is "seed" timecode, but currently not a traditional timecode generator. Early on I pegged this as a must-have and we do have the capability in the machine, so it is on the list.

Sorry but what is seed timecode?

The FS700 Record Option is for functions specific to that camera. We take the RAW output of that camera - and it is a RAW signal structure unique to that single model - and convert it into several different formats. $K RAW, 2K RAW, as well as video conversions including the 444 format you note.

But if a signal was to be a standard one that would be something output by several different cameras, then it would not fall under such a specialized record option, but instead be made available to anyone with an Odyssey7Q. Currently we do this in HD in 4:4:4 DPX and Apple ProRes 422(HQ). As we add more formats and features, the ones that can be used on various cameras will be made open to all.

Ok but didn't get if 12 bit 444 will be free or paid for option?

Just how many different cameras output HD 4:4:4 in 12-bit? I can think of a few, but not many. How many will buy an Odyssey7Q if we add the feature?

If you add? So it is not even for sure? I thought it was as I think it was in the marketing materials.

 

[Viddovation]

This is what I meant. You can't properly record audio with SR-R1 alone because you said levels control is very limited? Like if you want you can record audio in F3 without any external recorder or mixers. I know this camera is made for big crew and extra soundman. I'm just trying to understand if features in SR-R1 change anything or offer more features to record audio.

Recording audio solely to the SR-R1 with no mixer is not advisable. If properly mixed prior to being fed to the SR-R1, it should give you very clean audio.

This is only advantage of 9000PL. It has levels knobs like any broadcast camera so if you ever need you can record audio normally with it without anything external, like F3.

Exactly. Neither the F35 nor the SR-R1 have the audio level knobs the Sony PMW-F3, SRW9000PL or any ENG camera will have. Simply don't exist on the SR-R1.

But it has audio meters in the LCD of the controller?

Absolutely does. Seeing clipping is very easy, and db levels are marked clearly.

But not only about audio. Pluraleyes must be able to import SR codec to sync with video.

Not something I have experience with. May or may not. You could always write them an email and ask. I can say this - the files get wrapped as .mxf files. If you're moving them to Final Cut you'll rewrap them as .mov files. Both .mxf files and .mov files are listed as supported by Plural Eyes. So, it may work just fine. And another viable option is transcoding the sstp files to something like ProRes, depending on the job. My favored approach is to match everything by timecode automatically in DaVinci.

I'm probably wrong then. The cards don't work with 12 bit so I thought it didn't work. But if data transfer maybe it works.

I'd bet good money it'll work just fine. It's just a data pipe for computer files the way it's engineered. Which is half the point - you're transferring the files as recorded, not creating a generational copy by converting the compressed files to an uncompressed SDI stream and recompressing on the computer side.

There's no good reason for it not to work. Just make sure everything is on the latest version, I'd say.

 

[SJX]

Absolutely does. Seeing clipping is very easy, and db levels are marked clearly.

This is what is confusing. Why give audio meters if don't give audio level control? If audio comes from external mixer the soundman already looked at levels. Why you need it in the SR-R1 LCD too? You don't. Soundman wont be looking at it.

Not something I have experience with. May or may not. You could always write them an email and ask. I can say this - the files get wrapped as .mxf files. If you're moving them to Final Cut you'll rewrap them as .mov files. Both .mxf files and .mov files are listed as supported by Plural Eyes. So, it may work just fine. And another viable option is transcoding the sstp files to something like ProRes, depending on the job. My favored approach is to match everything by timecode automatically in DaVinci.

Could you upload a small SR-SQ and SR-HQ file to test?

 

[Viddovation]

This is what is confusing. Why give audio meters if don't give audio level control? If audio comes from external mixer the soundman already looked at levels. Why you need it in the SR-R1 LCD too? You don't. Soundman wont be looking at it.

Every field mixer I've ever worked with double checked the meters on the camera he or she is feeding to. Mind you, they usually mess with your knobs and then throw tape over them. Under these circumstances, they're more likely to mutter a curse, play with the response, and put some marks on their own knobs. Typically, a sound mixer would send the camera tone, and either set the knobs on the camera to fix it where he or she wants it (they seem to like -20db) or they'll set the master gain on their mixer to do the same thing. So no, the audio mixer isn't watching the video recorder levels consistently, but they can check it at intervals. And they also can get a return feed from it.

Could you upload a small SR-SQ and SR-HQ file to test?

I'm not in a good place to do that currently. But I'll see about getting to it.

 

[SJX]

Good points Viddovation.

But if I really think, SR-R1 set up will end up costing at least 3 times more than 7Q or other similar recorder and you end up with something much bulkier, heavier and still get no trigger recording, no ramping and no variable frame rates. It also looks much more power hungry.
Quite a lot to pay in money and weight only to have 12 bit since other recorders will record 10 bit 444. It is worth it for the extra 2 bit? Maybe but I get the feeling most jobs we in these boards do would be more than fine with 10 bit 444 and even 10 bit 422.
Not everybody is resourceful like you and can customize the SR-R1 to make it less bulky and without this the recorder is kind of a beast.
The media is very expensive and not easy to find used.
Codec not as popular or flexible as Prores, Dnxhd or even Cineform.
Don't know. If I think deep it's not worth it for me for all the trouble and money.
But it's a good recorder.

Thank you for the chat anyway.