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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Has anyone tried the Hyperdeck Shuttle 2?

Matthew Gellert said:
FYI, D-Tap to dc connectors without a voltage regulator is not a good idea. boxes tend to go boom. or more like crack, fizzle, smoke, no worky.
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Aloha,

I totally agree with you Matthew. You're spot on. Without proper voltage regulation you run the chance of destroying your electronic/electrical device. I was able to resolve this problem when setting up my 12v monitor to run "in the field" on a V-Battery. Check out my post on this - #30 in this thread.

All the best...

Aloha,
Mike
 
M. FERGUSON said:
Aloha,

I totally agree with you Matthew. You're spot on. Without proper voltage regulation you run the chance of destroying your electronic/electrical device. I was able to resolve this problem when setting up my 12v monitor to run "in the field" on a V-Battery. Check out my post on this - #30 in this thread.

All the best...

Aloha,
Mike
Click to expand...

It's true that you should always be very careful with voltage. I usually hook up any new battery or adapter to a multimeter and try to see its actual voltage range before using it with expensive equipment. But yeah you will probably always be safer if you use a regulator, but you do have to make sure the regulator is specc'ed right and that's one more piece of equipment that costs money, takes up space, and uses some battery life. It seems like you MIGHT not need a regulator for the hyperdeck given the specs which are listed as 12v-18v. From what I understand the normal range for li-ion V or gold-mount batteries is about 11V-16.8V, where 16.8V is fully charged and 11V is dead. This may be why you had issues running your monitor which is listed as using an input voltage of 12-15V directly from a battery, since a full battery usually puts out 16.8V. The only thing is that if these devices really cut off at 12V they will cut out before the battery is completely drained, but that is pretty slight since, for example, EPIC/Scarlet force shut down when the battery hits 11.5V and in my experience that is probably less than 5% of the battery life away from when it is at 12V since Voltage falls off faster toward the end of the battery's life...
 
I'm using a D-tap adapter from SmallHD for mine. Seems to work fine.
 
I found great use for my Samurai in the broadcast environment. It does make it´s own clip names, so that is a draw back.
I used it on a TV show where we made spoof music videos etc and a lot of slow-mo. There would have been no time to render to ProRes using Redcine-X, so what I did (as external recorders can´t record high frame rates) was to plug the Samurai into my Epic after the shoot, play back the slo-mo clips and the Samurai recorded the clips into PRORES HQ in real time!
The results were great for what we needed. The only pain is that I didn´t find a way to play back all the clips on the Epic automatically, so I had to start each clip manually. The Samurai went in to record when the clip started playing, so no need to press REC there though.
 
Am I correct in thinking I could run the Hyperdeck (or similar external recorder) without recording on the EPIC thereby eliminating fan noise for longer interview situations? I guess my question is: how long in standby mode before the EPIC fan kicks in? Just thinking of using the external recorder for longer takes.
 
Scott C said:
I'm using a D-tap adapter from SmallHD for mine. Seems to work fine.
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Hi Scott,
Is the SmallHD D-tap adapter still working fine with the Hyperdeck Shuttle. Just received my adapter and wanted to double check :-)
Thanks in advance
Taj
 
Ivan Cortazar said:
Could I use a Red SSD to record on the hyperdeck? I wouldnt buy extra just for the hyperdeck, I'm not insane yet, but it'd be nice to be able to use them on both. Anyone has tried?
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No.
 
Does the hyperdeck work proressing 1080 clips while you're shooting 5k to the ssds? I assumed it did, and was about ready to buy everything yesterday, but had a wacky call with a BM support guy, and he said no. Said you must be shooting the same frame/aspect as you're proressing. Not sure if he even knew what an EPIC was...
 
Eric Oliver said:
Does the hyperdeck work proressing 1080 clips while you're shooting 5k to the ssds? I assumed it did, and was about ready to buy everything yesterday, but had a wacky call with a BM support guy, and he said no. Said you must be shooting the same frame/aspect as you're proressing. Not sure if he even knew what an EPIC was...
Click to expand...

The hyper deck records whatever signal is coming from your SDI...which in this case is 1080P...so it creates 1080p prores files while your EPIC is capturing 5k to its own RED ssd...(unless I am misunderstanding what you are asking)
 
that's what i'm asking, thanks a lot. was worried i'd have to be shooting in hd mode on the epic and deal with lens cropping. glad to hear it does what i had hoped...
 
can you trigger auto record form the epic with the hyperdeck or it only works with clicking it manually?. Also anyone has figure it out a way to add same naming to the red ones. Maybe is there a script that finds creation date and name them accordingly?

Thanks
 
With Atomos announcing that the Samurai will...at some point in 2013 (Spring?)...be firmware updated to read the RED R3d clip names...are you guys going to jump ship to THAT recorder as your primary proxy device? Or stick with the shuttle? Or wait till the Toia "Jule" box comes out?

Just curious...I've been keeping tabs on this for a while...a proxy solution is clearly on all our minds...
 
Well, Atomos has taken huge steps from the first firmware (actually quite immature when first released, but the KiPro Mini wasn't any better). I tested the Ninja 2 recently with Sonys and Canons and was quite impressed. Very nice scene-marking feature with XML export!

So I would trust them to deliver eventually.

@ Nick: I have a nice collection of Zeiss C/Y primes too, but what about their zooms? Which one do you prefer? I hear the 35-70 is great, but if I carry a zoom I'd like something with more range. But isn't one touch zooming a PITA when filming? BTW, I own the Minolta Rokkor 35-70mm, which is a great zoom close to prime quality. Is Zeiss C/Y comparable or even better?

@Others: Sorry for the derail…
 
Just received my one today and it is fantastic! Works right out of the box, simple to set up and the pictures look amazing.

Very very happy and i can highly recommend this product.
 
Uli Plank said:
@ Nick: I have a nice collection of Zeiss C/Y primes too, but what about their zooms? Which one do you prefer? I hear the 35-70 is great, but if I carry a zoom I'd like something with more range. But isn't one touch zooming a PITA when filming? BTW, I own the Minolta Rokkor 35-70mm, which is a great zoom close to prime quality. Is Zeiss C/Y comparable or even better?
Click to expand...

Uli, the Contax 35-70 is awesome, very prized in the stills world. Has a bit of a cult following. Stopped down, at 35mm it's considered one of the best performers in the Contax line, believe it or not. Definitely a variable prime. If used as such the push pull zoom is not a problem. However if you are trying to deliberately pull of "zoom" shots, then yes...its a PITA.

Optically, the CZ 35-70 is considered one of the best manual focus zooms ever made. That's certainly it's reputation in the stills forums. It also has a nifty near 1:2 Macro function that rarely gets mentioned! At 35mm, you engage the Macro function, and presto...you are close focusing with ease.

The Rokkor 35-70 is superb too (you have the "beer can" right?), they made it for Leica too (the F4). I'm going to go out on a limb and assume the CZ is a bit better, but I'm sure we're splitting hairs.

For filming, truthfully, I (and others) certainly prefer the Contax 28-85. Also WICKED SHARP. And another push-pull variable prime. At 28mm it certainly has more visible distortion than the primes, but other than that, it's superb. It's a 3.3-F4, so it does lose a 1/2 stop at the backend of the zoom, so that kinda sucks. But still worth it.

The CZ 35-70 is a constant 3.4 or 3.3, FYI.

The CZ 80-200 F4 is a fantastic bargain, FYI. Not razor sharp, but for the $250 it costs, certainly the best bang for buck of any lens I've ever owned. And has 1:4 Macro.
 
Thank you!
 
Email black magic design and tell them we all want red naming convention. I emailed them and got a response saying they are considering adding that option if enough people voiced interest.
 
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