Pro-res and raw simultaneously

Eagerly awaiting my BMC-EF order.

Pardon my ignorance on some of these signal management things, but I was shooting today with an outboard recorder and got to thinking:

Couldn't you run the SDI out in log gamma mode to this:

http://www.blackmagicdesign.com/product ... ckshuttle/

and record pro-res there and raw in-camera at the same time?

sure the camera could start to look like a wiring disaster with power and bnc running everywhere.

Does the camera send the start-stop info and timecode over SDI like the F3 I was using today?

Keep up the good work guys. I am rooting for you!

Yes, a BMCC can be recording 2.5K RAW 12-bit CinemaDNG internally, and you can record 1080p ProRes HQ (10-bit 4:2:2) on a Hyperdeck Shuttle 2 connected to the BMCC's HD-SDI output (set to Film/log or Video/Rec-709 gamma), and with the BMCC's new firmware v.1.2 it will reportedly send a signal to the HdS to start/stop recording.

Great way to record proxies in real time and not have to convert before editing. Would also help in dailies.

V1.2 Firmware will allow you to record via HD-SDI to a Shuttle and it works great. You'll have to rename the files, however, to match the RAW files coming off of the camera if you want to use them for the edit.

As well, you'll need to turn off the SDI overlays or they'll get recorded as well. =P

Also, not too much of a wiring disaster at all, is it? Never got in the way and the cables were fine.

Dual system sounds like a win-win.

Nice rig, I also have the viewfactor cage. Minus the camera...

Dual system sounds like a win-win.

Nice rig, I also have the viewfactor cage. Minus the camera...

I honestly just wanted green and red glowing lights on my rig... that's the only reason I have the shuttle there. >:P Just kidding, but it looks really cool.

Viewfactor cage in this configuration is insane... so many options on how to fold it up to reach small places:




And of course it takes no time to disconnect and take it off of the rig if need be.

Whats that module directly above the BMC? By any chance is that an audio amp? Like the JuicedLink?

Whats that module directly above the BMC? By any chance is that an audio amp? Like the JuicedLink?

Yup! Juicedlink RM333/RIggy Micro. Really wanted to try out running audio into camera (can't stand syncing sound) and this seemed like the most explored and best solution to do so. Turned out really well I think, wouldn't hesitate to do it again. The unit was easy to mount and never went down, and although it SEEMS like a weird place to have it, the XLR cable NEVER got in my way of operating.

As instructed by Robert at JL, we calibrated everything and I had my mixer recording second sound as well just in case. The only catch was that the XLR cables tugged out after I put it down to move some lights and I didn't notice because I wasn't monitoring with the headphones anymore. Need some Right Angle adapters instead.

Not a problem with the unit, just running and gunning always has its price, you will pay it eventually. Haha. But we had a backup so it's not a big deal at all.

When BMD gets the metering and other audio idiosyncrasies that Robert pointed out in the JL video on youtube (link here:

) it'll be even better.

But it's good to know there's an affordable solution now to running audio right into camera and getting plenty usable tracks.

Oh, and about renaming clips:

Since you can't delete clips in camera or on the hyperdeck, as long as you are always connected to the hyperdeck--or you are always recording to both, then you should never have a discrepancy between file numbers or amounts.

A False take on the camera is a false take on the hyperdeck as well.

Ideally you would either offload the hyperdeck's ProRes/DNxHD footage at the same time as the RAW, OR keep it in the Hyperdeck until the end of the day, then copy the name of the first clip you rolled off, paste it into Better Finder Renamer and set the incremental number.

Rename, done.

Sorry ericwestpheling for hijacking the thread (seems Kholi may have done this anyways) but when did you get your camera Kholi and where from?

Thanks
Costa

Shoot, sorry I should really learn to organize my thoughts, but here's another advantage to using this:

Sometimes you literally JUST want Dailies, and you're not concerned with Proxies. It costs very little in the way of time, rig space, and drive space to have this running, and at the end of the day you could hand a drive off to the director to review on his Macbook or whichever setup.

Once we've got one or two more solid Video looks from the camera, you could also feed that out while recording a LOG ProRes or of course 2.5K DNG for immediate turn around and a higher quality backup for tough shots.

I can see this having many uses, and likely worth the expense of having one around. Not to mention you can use it on other cameras o'course.

u_u I'm supposed to be playing The Game of Life with my GF and her Family... but I can't stop geeking out on this thing.

[CaptainHook]

Sorry ericwestpheling for hijacking the thread (seems Kholi may have done this anyways) but when did you get your camera Kholi and where from?

I'm pretty sure it's not Kholi's and he is borrowing it as he's waiting for the MFT mount version.

Sorry ericwestpheling for hijacking the thread (seems Kholi may have done this anyways) but when did you get your camera Kholi and where from?

I'm pretty sure it's not Kholi's and he is borrowing it as he's waiting for the MFT mount version.

He told me a while ago that he borrowed one. I wonder who has the facility to lend something as rare as a BMCC to someone for so long?

Sorry ericwestpheling for hijacking the thread (seems Kholi may have done this anyways) but when did you get your camera Kholi and where from?

Thanks
Costa

How does talking about Shuttle Workflow equate to Hijacking a thread? LoL

And I haven't received my unit yet, waiting for Golden Egg MFT.

Proxy dailies needs to have the same filename as the files they represent. While the file does not necessarily need to start on the very same frame, as long as the timecode for the same frames match it's good - but need the filename to match to do a conform.

Michael

Proxy dailies needs to have the same filename as the files they represent. While the file does not necessarily need to start on the very same frame, as long as the timecode for the same frames match it's good - but need the filename to match to do a conform.

Michael

For Proxy/Dailies, those that'll be used in an edit indeed. IF you're literally just giving them to someone to check performance etc then it wouldn't matter. My friends often hand out iPads with dailies for that purpose alone, and it takes a while to get the RED data down to the device (conversion etc)

Would skip an extra step outright with a Hyperdeck on the back.

I agree for a verbal review and feedback process that works great.

Michael

maybe it would be possible in the future to sync filenames also.

it may fall out of the standard but could be possible in tech sense ?

this would make shuttle extra sweet.

Depending on the camera, filenames are incuded. For example several recorders support the filenames from RED as they send that info down the HD-SDI and I believe it can now be done with Arri Alexa.

Michael

Might as well add that to the feature req. list. Although i'm sure some sort of in-cam proxy recording will happen with a future BMCC mk2. I'd love a BMC with the F55's workflow options!

I actually just assumed it couldn't happen!

If it could, that's one more step to making this setup a mainstay for me.

I'm also wondering if it's possible to feed the VIDEO (viewing) gamma out to the HD-SDI while the recording gamma is still set to Film. That'll add another interesting and useful layer to it.

Guess no better way to find out than to ask!