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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 :)

Affordable Field Recorder for Scarlet

Daniel Peters

Daniel Peters

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I was on a shoot pretty much hiring out my Scarlet and acting as a DIT for the day.

They love the footage but the workflow was a bit much for them so...

I was thinking for certain clients and hire, to get a good affordable field recorder
nothing too crazy as I won't really use it on my shoots

Just wonder if the Atomos Ninja 2 was the best affordable solution to 1080p Prores 422?
http://www.proav.co.uk/Atomos-Ninja...medium=GoogleShopping&utm_campaign=googlebase
 
This to RLF should be pretty neat. Using some kipro's here. To say that has been without incidents, would be an exaggeration...

Now, If we could have separate LUTs for the different outputs...

G
 
More like:

Record RedLogFilm to prores.
Monitor RedGamma 3 for director
Apply Nick Shaws LUT for edit
Grade from RLF

The KiPro has had its issues

But with a solution like this you CAN record RAW to internal mag and prores to external.

@G
 
The Hyperdeck Shuttle is even a more affordable option (345$), it records in Avid DNxHD and it can use flags over HD-SDI to start and stop recording. It uses standard SSD drives (like the new OCZ vertex 4 or 3). You have to power it using an external battery (if you already uses an Anton Bauer or V-mount for the camera), the internal only last one hour. And the nice thing is that it provide simultaneous HD-SDI and HDMI outputs!
 
Alexandre,

Good suggestion. As with Daniel's comment...I had a client last week who ran into R3D issues. Question, does the Hyperdeck Shuttle come with the D-Tap cable? And is DNxHD the only format it captures? Do you know if Prores is an option?

Marq Lee




Alexandre Desjardins said:
The Hyperdeck Shuttle is even a more affordable option (345$), it records in Avid DNxHD and it can use flags over HD-SDI to start and stop recording. It uses standard SSD drives (like the new OCZ vertex 4 or 3). You have to power it using an external battery (if you already uses an Anton Bauer or V-mount for the camera), the internal only last one hour. And the nice thing is that it provide simultaneous HD-SDI and HDMI outputs!
Click to expand...
 
It has proRes now.

Marq Lee said:
Alexandre,

Good suggestion. As with Daniel's comment...I had a client last week who ran into R3D issues. Question, does the Hyperdeck Shuttle come with the D-Tap cable? And is DNxHD the only format it captures? Do you know if Prores is an option?

Marq Lee
Click to expand...
 
The D-Tap doesn't come with it, you have to buy one separately. You can also record in Uncompressed but it would not be practical compared to DNxHD space wise. Blackmagic announced at NAB that they would add ProRes to the rack mount version, Hyperdeck Studio, but I don't know if it will be made available on the Shuttle.
 
Matt Gottshalk said:
I love my Pix240.

As soon as Red introduces full raster on the hd-sdi out it will be even more useful.
Click to expand...

I'm with Matt- love my PIX 240 too.

The raster issue is one that effects ALL outboard recorders BTW. So REDs fix will apply to all I would think.

PIX-wise you have 2 models so not sure what your budget restrictions are but the build quality and performance are every bit as good as your Scarlet. Sound Devices has been VERY responsive to owner input and have added features almost monthly in their free firmware updates. If you get a chance to handle a PIX and a Samurai I think you will be blown away by the build and finish of the PIX products. Controls, fittings, chassis - all beautifully engineered. Intuitive menu system with some great abilities to custom configure to your use and style. I bought the optional D-tap so its powered right of the same Brick as the camera.

Stu Aull
SX 199
PIX 240
 
stu aull said:
I'm with Matt- love my PIX 240 too.

The raster issue is one that effects ALL outboard recorders BTW. So REDs fix will apply to all I would think.

PIX-wise you have 2 models so not sure what your budget restrictions are but the build quality and performance are every bit as good as your Scarlet. Sound Devices has been VERY responsive to owner input and have added features almost monthly in their free firmware updates. If you get a chance to handle a PIX and a Samurai I think you will be blown away by the build and finish of the PIX products. Controls, fittings, chassis - all beautifully engineered. Intuitive menu system with some great abilities to custom configure to your use and style. I bought the optional D-tap so its powered right of the same Brick as the camera.

Stu Aull
SX 199
PIX 240
Click to expand...

I have two questions about the Pix240, as this DOES seem like a very intriguing recorder:

1) BATTERY LIFE: I'd heard that it's own battery life was poor, but I guess if you can D-TAP into the brick, then it no longer an issue. Please confirm that you are happy with this setup (though it does seem like you are)

2) AUDIO: Armed with two SOUND DEVICES XLR inputs/pre-amps, I have to imagine Sound Guys can plug right into the PIX 240 and record PERFECT STUDIO AUDIO to the Proxy files. Are you using it in this capacity? Can you expand on this if you are.


Here is what I am thinking. If the PIX 240 can record perfect proxies WITH META-DATA, and record perfect SOUND, then not only would this this be the best broadcast proxy recorder...you also wouldn't need the PRO I/O for audio anymore either...and all for $2500.

Once RED updates their firmwire...and the black bars go away...the PIX 240 could just be the ultimate field recorder a lot of us in broadcast have been waiting for. Right?

We can edit directly off the proxies, and then ONLINE back to the 4K R3D's when we're ready to grade. PERFECT.
 
The PIX eats more power than the Samurai, but it's audio section is far better. It's definitely studio quality.

What do you mean by proxies with meta-data?
They are baked in on the output, I didn't see RED announcing any transfer of separate meta-data via SDI (if that would be feasible at all).
 
Nick Morrison said:
I have two questions about the Pix240, as this DOES seem like a very intriguing recorder:

1) BATTERY LIFE: I'd heard that it's own battery life was poor, but I guess if you can D-TAP into the brick, then it no longer an issue. Please confirm that you are happy with this setup (though it does seem like you are)

2) AUDIO: Armed with two SOUND DEVICES XLR inputs/pre-amps, I have to imagine Sound Guys can plug right into the PIX 240 and record PERFECT STUDIO AUDIO to the Proxy files. Are you using it in this capacity? Can you expand on this if you are.


Here is what I am thinking. If the PIX 240 can record perfect proxies WITH META-DATA, and record perfect SOUND, then not only would this this be the best broadcast proxy recorder...you also wouldn't need the PRO I/O for audio anymore either...and all for $2500.

Once RED updates their firmwire...and the black bars go away...the PIX 240 could just be the ultimate field recorder a lot of us in broadcast have been waiting for. Right?

We can edit directly off the proxies, and then ONLINE back to the 4K R3D's when we're ready to grade. PERFECT.
Click to expand...

1) I get 50 min+ of continuous recording with the PIX attached via D-tap on my 150w bricks. Thats dual recording on the RED SSD as well, fan at 35%, running the BOMB. I have not used the Sony-mount battery option on the PIX directly so I can't comment on run-times with these - but you can buy several diff SIZES of the Sony's so maybe the self-power options are OK? I would pose this Q on the Sound Devices User Forum for PIX.

2) Tho I am not sure these qualify as a "proxy", but since you can match TC (with the PIX 240 only) to the RED recordings, I can't see why you couldn't lock the PIX audio to the RED files in post. I mean, this type of separate-audio-recording has been done in the film industry for decades. There is no Metadata recorded by the PIX that I am aware of. The sound quality is amazing, but I expected nothing less from SD.

I'm using my PIX for HD work now, but, yes, REDs long-awaited correction of the framing out on the SDI will be welcome. And by their own statement (NAB) this should be shortly.

I know RED has indicated they might come out with some sort of Proxy recorder, but I would be surprised if it is at the PIX price-point, nor would have the depth of features of the PIX (like the monitor, for one).

Stu Aull
SX 199
Alaska
 
Everyone has been great with replys

One thing, i may be wrong but
Didn't the Redone record RAW with 720p & 1080p quicktime files included?

If so wonder why the Scarlet, Epic doesn't do it...I know redmag space would be a bitch..but it'd be helpful for those certain clients
 
Those QT "proxies" were no true independent proxies, they were just a link to the original files telling QT to decode them. You can generate them very fast with RCX and they need next to no space at all.

RED may include them with another firmware update, but they always needed massive computing power. True proxies like ProRes LT would be much more useful if you need to do a fast edit on a laptop.
 
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