The World's Stock Media Marketplace
Login to your Account
Don't have an account?
Forgot your Password?
Username or Email:
Create an Account
Already have an account?
Sign in here
min 6 characters
min 8 characters
is exactly same as password
By Clicking 'Sign Me Up' button I accept the
Terms of Service
Sign Me Up!
Download our Free Stock Clip of the Week
Stock Video Footage
Trending Video Collections
Letters & Words
Stock Photos and Images
Stock Music and Soundtracks
After Effects Project Templates
Atomos Ninja 2 on Nikon
3 Oct 2012 14:28
3 Oct 2012 15:10
Good information in that video.
I've been thinking about getting the Blackmagic Hyperdeck. It's $327 and records either fully uncompressed from camera or DNxHD compression.
The biggest difference is the Atomos also has a monitor but it's $1000
3 Oct 2012 21:35
I haven't seen many good reviews on the hyperdeck. I was looking at it as an option for my fs700. I don't want hdmi either, just because when I rented the nanoflash it was hdmi and the connector was wonky. Sometimes it would screw up. The samurai is what I was also looking at from atmos. There is another one ... something pix that is supposed to be the best.
3 Oct 2012 21:39
Hey miz just saw your post on the 50mbits page after posting in the other thread about the hdmi. I hated it. Used it with the fs100 when I rented, but I imagine the hdmi port is just as wobbly with all hdmi.
you like that pix220 with the fs700? any real noticeable difference/
3 Oct 2012 21:40
I haven't seen any bad reviews on the hyperdeck.
It does have SDI input as well as HDMI
Also I can set my camera to send a signal to it to start recording when I hit record on the camera. I don't know if the Atomos has that feature.
Changed 3 Oct 2012 21:41 by kk5hy ""
3 Oct 2012 21:42
does the atomos record 30p? does the pix220 record 30p?
3 Oct 2012 22:16
Hyperdeck records DNxHD? Interesting...that's a lot more compact/efficient unit.
Atomos and PIX220 record 30p (I know the PIX also deinterlaces and can modify from almost any (HD/SD) resolution to another at different frame rates).
Problem - they don't record 60p! I like shooting in 60p. Makes for more options later. Can't make more frames from fewer so easily, but easy to make 30p and 24p from 60p. So I wish the PIX recorded 60p.
I will be fabricating a flexible short (3") HDMI extension for the delicate joke connector that is HDMI and strap it on good. I use the DP4 EVF to monitor from FS700, and when cable gets bumped after swiveling on tripod to capture a scene quick, suddenly the HDMI signal has is gone, and it takes precious long seconds at best to re-sync....in the meantime no signal to monitor or record!
dapoopta, no I haven't messed with the PIX with the FS700. Right now it's still pretty fresh to me, so I'm still getting used to the camera, being larger, heavier, and strangely shaped, and more delicate, and in the meantime quite busy (roofing in the rain, tra la la....) but I'll get to that ASAP....
As for the monitors on the Atomos and the PIX, both various aids to working, the PIX has false color for exposure, zebras, customizable focus peaking, 1:1 pixel mapping...these are handy, but they are NOT as good as a larger monitor and/or dedicated EVF. Mostly, the monitor helps you confirm you have signal.
OK, back to being a soggy carpenter...if it weren't raining, maybe I could have been getting some clips!
4 Oct 2012 00:28
Another potential issue, I'm curious about (because I have been bitten by this particular gotcha!) is aliasing. Be aware that if your camera currently exhibits objectionable aliasing, especially if it is a higher resolution sensor than that of the output (case in point, DSLR to HD) then you might see MORE, and it's a crappy thing to find.
The reason I'm curious about this is that when using the PIX220 with the Sony V1U, and also a bit with the Z5U (not as bad) I got aliasing artifacts on diagonal lines, (power lines, rooftops, boat hull details, etc, and also on repeating patterns like leaves and glacier details from a distance.
Interestingly, this aliasing either was not as bad or not evident at all on the HDV version of the clip (since I was shooting simultaneously to backup and to compare). I was also seeing more NOISE than the HDV version.
WTF? Spend a couple grand to have video with more problems? Not happy.
So my theory is that the highly compressed codec (HDV) "absorbed" the aliasing and noise. Sure, I lost some detail, but after EXHAUSTIVE comparisons, synched frame accurate and aligned on tracks so I could directly A/B them, there's not a lot of detail lost (at least on a single progressive frame) and the faults were more than the benefits.
So a DSLR, downrezzing from a 18-22 MP sensor to 1920x1080, to a lossy codec may show more aliasing than normal.
I'd be VERY curious as to whether this is the case. I expect that the FS700 might show me something I did not want to see, but I'll reserve judgement until I do tests. The FS700 already exhibits aliasing I for one find objectionable, especially in the Stupor Slow Motion mode, which angers me. I have a feeling the 4K from the FS700 will be fraught with issues, which would explain the delay in its implementation, or it will be golden.....what do you wanna bet it's the former?
Of course, I also see aliasing in productions that are WAY bigger budget than me, or many stock shooters are likely to be, so maybe it's just one of those things the general public don't notice or care about, like stagecoach wheels spinning backwards or diagonal lines shimmering.,....but then, we don't spend thousands of dollars on the perpetual quest for better gear just to please the general public...we do it to try to please our buyers (may they be fruitful and multiply), and also ourselves, right?
4 Oct 2012 00:40
And finally, one more gotcha:
So the ProRes or DNxHD codecs are easier for the computer to digest and play back, right? Well, maybe that's the case. But consider the higher bit rate you've lusted after and finally gotten....you've already got a fast motherboard, processor and RAM, and you can play back your in-camera video without a hitch, right?
Well if you don't have really fast drives, that higher bit rate codec you're now shooting in demands faster drive transfer/data streaming speeds....and while it's working your processor and RAM less, it's now restricted by the bottleneck in your data busses.
Why did I learn this? Well, because I was trying to figure out why my machine does not play DNxHD or ProRes as easily as it does HDV, which is supposedly harder on the machine.
For what it's worth, my computer has 4 drive, a SSD C: drive, three 1 TB media drives (I work from 1 or two, and render to the third, and these three drives are Caviar Black, 7200 rpm, SATA - now once, like when I first got this machine, I thought this was fast...now I see that I need FASTER!
......and so might you....
(notice that I didn't even mention Uncompressed?!)
4 Oct 2012 02:25
... and a couple of these :)
4 Oct 2012 03:01
Hear hear! (although I've spent more than my earnings already...)
Plus, a handful of these
to put another hole in the bucket that my earnings leak from....
4 Oct 2012 13:09
That Hyperdeck solution is very interesting since you can get a low cost full hd monitor and still be under the Atomos Ninja 2 retail price. I am under the impression that you have to use Velcro straps to secure it to any camera rigs.
4 Oct 2012 13:22
No, as with anything in this business, there is always an over priced accessory.
Blackmagic sells a mounting plate for $94 that has a threaded socket to mount to the hyperdeck.
Hyperdeck mounting plate
You would think they could have put one 1/4 inch threaded hole on the actual body but then they couldn't sell this piece of metal.....
Anyway, even with this accessory it's still cheaper than any other recorder.
Or $2.00 worth of velcro would do the same.
Changed 4 Oct 2012 13:29 by kk5hy ""