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Digital Cinema Society tests of Blackmagic URSA Mini Pro 12K

James Mathers
 

The Digital Cinema Society has posted test material shot with the Blackmagic URSA Mini Pro 12K camera.  Along with an essay from our monthly eNewsletter, it is designed to to look at the challenges and potential benefits of shooting 12K.  The tests were shot with a volunteer skeleton crew over two half days during the pandemic, (so be kind.)  Please note that the closeups in the interview setup and the bar scene are digital zooms from the 12K master shot, and that the Chinatown sidewalk and tunnel shots were highly stabilized, which would not have been possible without the extra resolution.

Here's a link to my DCS newsletter essay with background and analysis:  http://www.digitalcinemasociety.org/essay/where-the-12k-rubber-hits-road-james-mathers-tests-blackmagic-ursa-mini-pro-12k#read

And if you want to skip ahead to the finished video, here's a link to the HD SDR version on Vimeo:  https://vimeo.com/485764350
(Note that a 4K HDR version will also be posted shortly.)

James Mathers
Cinematographer and Founder of DCS
Studio City, CA


Re: Further experiments with the G12

Colin Elves
 

I think you should be able to resolve this by using the right quicktime tags on export.

On 30 Nov 2020, at 18:54, Art Adams <aadams@...> wrote:



As usual, it looks much darker on Vimeo than it does on my system.

 

Hi Geoff-

 

I wonder if that has to do with the old Quicktime gamma bug. When I was a freelancer I found that the X264 encoder got around this nicely:

 

https://www.videolan.org/developers/x264.html

 

I used this in conjunction with Vimeo for my DP website. (This is not an official endorsement, just suggesting this is worth a try as it may work for you.)

 

-Art

 

_______________________________________________________
Art 
Adams
Cinema Lens Specialist
ARRI Inc.
3700 Vanowen Street
BurbankCA 91505
www.arri.com 

 
<image440152.png>
aadams@...

Get all the latest information from www.arri.comFacebookTwitterInstagram and YouTube.






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Further experiments with the G12

Art Adams
 

As usual, it looks much darker on Vimeo than it does on my system.

 

Hi Geoff-

 

I wonder if that has to do with the old Quicktime gamma bug. When I was a freelancer I found that the X264 encoder got around this nicely:

 

https://www.videolan.org/developers/x264.html

 

I used this in conjunction with Vimeo for my DP website. (This is not an official endorsement, just suggesting this is worth a try as it may work for you.)

 

-Art

 

_______________________________________________________
Art 
Adams
Cinema Lens Specialist
ARRI Inc.
3700 Vanowen Street
BurbankCA 91505
www.arri.com 

 
aadams@...

Get all the latest information from www.arri.comFacebookTwitterInstagram and YouTube.






This message is confidential. It may also be privileged or otherwise protected by work product immunity or other legal rules. If you have received it by mistake, please let us know by e-mail reply and delete it from your system; you may not copy this message or disclose its contents to anyone. Please send us by fax any message containing deadlines as incoming e-mails are not screened for response deadlines. The integrity and security of this message cannot be guaranteed on the Internet.



Re: Further experiments with the G12

Geoff Boyle
 

I’ll be posting a large collection of before and afters, that was just a teaser 😊

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

Become a CML Patron https://www.patreon.com/bePatron?u=43292735

 

 

From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of Matthew Woolf via cml.news
Sent: Monday, 30 November 2020 11:28
To: cml-raw-log-hdr@...
Subject: Re: [cml-raw-log-hdr] Further experiments with the G12

 

Looks great thanks Geoff!

Any chance you can post the before video as a comparison?

 

Thanks !

 

Matthew 

Matthew Woolf

Director of Photography 

www.matthewwoolf.com

+1 917 399 9565

+ 61 0466 834 239
US Agent: DDATalent +1 310 474 4585
Commercial: Juanita Tiangco
Narrative: Dan Burnside

Australia: AusCrew +61 (02) 9427 4444

 

Confidentiality Note:  This e-mail is the property of Matthew Woolf. It is intended only for the person or entity to which it is addressed and may contain information that is privileged, confidential, or otherwise protected from disclosure. Distribution or copying of this e-mail, or the information contained herein, to anyone other than the intended recipient is prohibited.



On Nov 30, 2020, at 04:20, Ben Allan ACS <benallan@...> wrote:

This looks great Geoff.

Ben

 

 



On 30 Nov 2020, at 6:22 pm, Geoff Boyle <geoff@...> wrote:

 

This is the first of a series of tests shot on a BMD 12K with frame lines for 8K within that. The point of this test is to try stabilising handheld shots.
The video was graded in a single HDR node in ACEScct, point stabilisation was used on the middle windmill and the image them zoomed 1.5X to match the 8K frame line that I shot.
This is shot handheld! it's not a freeze-frame, look at the sheep on the bottom left :-)
The lens was a Sigma 18-50mm F2.8 that I bought in 2005
. As for lens distortion, that’s a theoretical problem that shows up on charts not general shots 😊
As usual, it looks much darker on Vimeo than it does on my system.

 

 

cheers 
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

 

 

From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of patancillo@...
Sent: Sunday, 29 November 2020 22:10
To: cml-raw-log-hdr@...
Subject: Re: [cml-raw-log-hdr] Further experiments with the G12

 

How are you dealing with lens distortion on the reframing/repostioning?

Claudio Rocha
East Los Angeles. 

 


Re: Further experiments with the G12

Matthew Woolf
 

Looks great thanks Geoff!
Any chance you can post the before video as a comparison?

Thanks !

Matthew 

Matthew Woolf
Director of Photography 
www.matthewwoolf.com
+1 917 399 9565
+ 61 0466 834 239
US Agent: DDATalent +1 310 474 4585
Commercial: Juanita Tiangco
Narrative: Dan Burnside
Australia: AusCrew +61 (02) 9427 4444

Confidentiality Note:  This e-mail is the property of Matthew Woolf. It is intended only for the person or entity to which it is addressed and may contain information that is privileged, confidential, or otherwise protected from disclosure. Distribution or copying of this e-mail, or the information contained herein, to anyone other than the intended recipient is prohibited.

On Nov 30, 2020, at 04:20, Ben Allan ACS <benallan@...> wrote:

This looks great Geoff.
Ben



On 30 Nov 2020, at 6:22 pm, Geoff Boyle <geoff@...> wrote:

This is the first of a series of tests shot on a BMD 12K with frame lines for 8K within that. The point of this test is to try stabilising handheld shots.
The video was graded in a single HDR node in ACEScct, point stabilisation was used on the middle windmill and the image them zoomed 1.5X to match the 8K frame line that I shot.
This is shot handheld! it's not a freeze-frame, look at the sheep on the bottom left :-)
The lens was a Sigma 18-50mm F2.8 that I bought in 2005
. As for lens distortion, that’s a theoretical problem that shows up on charts not general shots 😊
As usual, it looks much darker on Vimeo than it does on my system.
 
 
cheers 
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076
 
 
From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of patancillo@...
Sent: Sunday, 29 November 2020 22:10
To: cml-raw-log-hdr@...
Subject: Re: [cml-raw-log-hdr] Further experiments with the G12
 
How are you dealing with lens distortion on the reframing/repostioning?

Claudio Rocha
East Los Angeles. 



Re: Further experiments with the G12

Mitch Gross
 

Geoff, very impressive. Definitely shows the viability of such stabilization. 

Just for edification, could you post a high resolution magnification of a corner of the image, just to help see the point at which it may break down? I think it will hold up extremely well due to the sheer volume of resolution, but an 800x mag. may prove interesting. Or not. :)

Mitch Gross
New York

On Nov 30, 2020, at 2:22 AM, Geoff Boyle <geoff@...> wrote:



This is the first of a series of tests shot on a BMD 12K with frame lines for 8K within that. The point of this test is to try stabilising handheld shots.
The video was graded in a single HDR node in ACEScct, point stabilisation was used on the middle windmill and the image them zoomed 1.5X to match the 8K frame line that I shot.
This is shot handheld! it's not a freeze-frame, look at the sheep on the bottom left :-)
The lens was a Sigma 18-50mm F2.8 that I bought in 2005
. As for lens distortion, that’s a theoretical problem that shows up on charts not general shots 😊
As usual, it looks much darker on Vimeo than it does on my system.

 

https://vimeo.com/485344718

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

Become a CML Patron https://www.patreon.com/bePatron?u=43292735

 

 

From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of patancillo@...
Sent: Sunday, 29 November 2020 22:10
To: cml-raw-log-hdr@...
Subject: Re: [cml-raw-log-hdr] Further experiments with the G12

 

How are you dealing with lens distortion on the reframing/repostioning?

Claudio Rocha
East Los Angeles.


Re: Further experiments with the G12

Ben Allan ACS
 

This looks great Geoff.
Ben



On 30 Nov 2020, at 6:22 pm, Geoff Boyle <geoff@...> wrote:

This is the first of a series of tests shot on a BMD 12K with frame lines for 8K within that. The point of this test is to try stabilising handheld shots.
The video was graded in a single HDR node in ACEScct, point stabilisation was used on the middle windmill and the image them zoomed 1.5X to match the 8K frame line that I shot.
This is shot handheld! it's not a freeze-frame, look at the sheep on the bottom left :-)
The lens was a Sigma 18-50mm F2.8 that I bought in 2005
. As for lens distortion, that’s a theoretical problem that shows up on charts not general shots 😊
As usual, it looks much darker on Vimeo than it does on my system.
 
 
cheers 
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076
 
 
From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of patancillo@...
Sent: Sunday, 29 November 2020 22:10
To: cml-raw-log-hdr@...
Subject: Re: [cml-raw-log-hdr] Further experiments with the G12
 
How are you dealing with lens distortion on the reframing/repostioning?

Claudio Rocha
East Los Angeles. 



Re: Further experiments with the G12

Geoff Boyle
 

This is the first of a series of tests shot on a BMD 12K with frame lines for 8K within that. The point of this test is to try stabilising handheld shots.
The video was graded in a single HDR node in ACEScct, point stabilisation was used on the middle windmill and the image them zoomed 1.5X to match the 8K frame line that I shot.
This is shot handheld! it's not a freeze-frame, look at the sheep on the bottom left :-)
The lens was a Sigma 18-50mm F2.8 that I bought in 2005
. As for lens distortion, that’s a theoretical problem that shows up on charts not general shots 😊
As usual, it looks much darker on Vimeo than it does on my system.

 

https://vimeo.com/485344718

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

Become a CML Patron https://www.patreon.com/bePatron?u=43292735

 

 

From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of patancillo@...
Sent: Sunday, 29 November 2020 22:10
To: cml-raw-log-hdr@...
Subject: Re: [cml-raw-log-hdr] Further experiments with the G12

 

How are you dealing with lens distortion on the reframing/repostioning?

Claudio Rocha
East Los Angeles.


Re: Further experiments with the G12

patancillo@...
 

How are you dealing with lens distortion on the reframing/repostioning?

Claudio Rocha
East Los Angeles.


Re: Further experiments with the G12

Guy Mastrion
 

This post work sounds intense and increasingly like aspects of animation too.  Props to you Geoff for digging in. I look forward to seeing all your tests.  
--
Guy Mastrion
Creative_Director_DP_Professor
www.linkedin.com/in/guymastrion
insta: gmastrion


Further experiments with the G12

Geoff Boyle
 

I’m a few weeks away but I will be publishing a series of tests that I’ve been shooting with the BMD G12

 

I’m shooting at 12K but with a 8K frameline.

I am using a shutter angle as small as I can so that each frame is as sharp as it can be.

Every shot is either handheld or resting on a fence post etc.

In Resolve I am stabilising the shots withing the 8K area so I have a huge amount of repositioning room. I’m using point stabilisation most of the time.

I’m then adding motion blur so that anything moving in shot looks “normal”

 

I had hoped to be finished by now but I’m using R17 and have suffered some of the “black grades” that are afflicting people.

 

As this approach can cause issues with Pans or tilts I’m trying to accommodate for that by using the extra room around the image to start biased to one side and then moving across the image in post. This can be combined with “real” pans & tilts to feather off starts and stops.

 

Is it time consuming? Oh yes 😊 but it’s time consuming at the cheap end of a production.

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

Become a CML Patron https://www.patreon.com/bePatron?u=43292735

 

 


Re: Codex HDE

Loic de Lame
 

Hi Kyle.

I am currently on a TV show shooting ArriRAW on LFs and utilizing HDE. I’ve also used it on a feature last year and a fashion job in Feb this year.

No complaints from clients and there is no difference between ArriRAW and HDE.

Frankly, in my opinion, it’s a no brainer to use HDE. The equivalent example I use is it’s like ZIP-ing a file.

With regards to download times, I can say that the compression doesn’t add time to transfers.

The only thing to be aware of is that you just have a program capable of handling HDE to do the transfer. You cannot do a finder drag and drop.

Highly recommend:
* Pomfort Offloader/Silverstack
* Hedge

Hope this helps!

~L

Loïc de Lame
DIT and Colorist

via Airmail

From: Kyle Krupinski <kyle.krupinski@...>
Reply: cml-raw-log-hdr@... <cml-raw-log-hdr@...>
Date: November 13, 2020 at 21:16:17
To: cml-raw-log-hdr@... <cml-raw-log-hdr@...>
Subject:  [cml-raw-log-hdr] Codex HDE

I'm curious if anyone is advocating for or using high density encoding with codex cards. I own an Alexa SXT plus and have been shooting a lot of Arri raw with XR cards on commercial projects and I'm curious about using HDE to save my clients some drive space. Is there any reason to be concerned about data compression being applied during the transfer? I have no problem shooting with compression ratios when I'm using a RED but I'm skeptical about it being applied after image capture.

Cheers!
Kyle Krupinski
DP
Los Angeles


Codex HDE

Kyle Krupinski
 

I'm curious if anyone is advocating for or using high density encoding with codex cards. I own an Alexa SXT plus and have been shooting a lot of Arri raw with XR cards on commercial projects and I'm curious about using HDE to save my clients some drive space. Is there any reason to be concerned about data compression being applied during the transfer? I have no problem shooting with compression ratios when I'm using a RED but I'm skeptical about it being applied after image capture.

Cheers!
Kyle Krupinski
DP
Los Angeles


Re: External recording Using Alexa

Oscar Molano
 

Thank you all for the responses 

It is clear to me now that the most important setting will be what is coming out of UE to our recorder 

Thanks again 

El El vie, 30 de oct. de 2020 a la(s) 8:45 p. m., Adrian Jebef via cml.news <adrianjebef=yahoo.com@...> escribió:
Note that the Alexa SXT can only output 16:9 HD. Setting the camera into a different recording mode / resolution (3.4K open gate, 3.2K ProRes, 2K etc) will result in scaling issues as the camera will scale down these other modes to fit into its 1920x1080 video out stream. For a full frame image you’ll want to be in 16:9 HD mode.

Adrian Jebef
DIT
(626) 840-1260





On Oct 30, 2020, at 5:40 PM, Andy Jarosz <andy@...> wrote:

 You'll need a capture card for the computer running Unreal, Blackmagic Decklinks are the best supported.

Genlock into the camera and the Decklink to ensure frame sync, and then do whatever you need too within Unreal. It's fairly straightforward. Your output will be a BlackMagicMediaOutput blueprint. All details on this here: https://docs.unrealengine.com/en-US/Engine/ProVideoIO/BlackmagicQuickStart/index.html

It doesn't really matter what the camera is outputting as long as it's a supported frame rate and res. You can apply LUTs in Unreal, or you can use postprocessing to match Unreal to the camera. Just depends on what you want to do.

 If you're using Composure within Unreal, you can use the SDI out of the Decklink into whatever recorder you want. As Bob mentioned, this is a different signal and is independent of the camera.  You can also just output the foreground or background elements from Unreal and record the camera feed separately for compositing in post.

-- 
Andy Jarosz
MadlyFX & LOLED Virtual
loledvirtual.com
Andy@...
708.420.2639
Chicago, IL
On 10/30/2020 1:
On 10/29/2020 12:25:16 PM, Oscar Molano wrote:
Hello
 
We are having a shoot where we need to record the MON OUT signal of an Alexa SXT Camera due to it being fed to Unreal Engine and outputted from there with a live composite into a External Recorder.
 
I notice on the Alexa Webpage that says
 
1x proprietary signal output for EVF-1 viewfinder
4x MON OUT: 1,5G (SMPTE ST292-1)
uncompressed HD video with embedded audio and metadata
 

--
Oscar Molano
DIT/Camera Assistant
Bogotá, Colombia


Re: External recording Using Alexa

Adrian Jebef
 

Note that the Alexa SXT can only output 16:9 HD. Setting the camera into a different recording mode / resolution (3.4K open gate, 3.2K ProRes, 2K etc) will result in scaling issues as the camera will scale down these other modes to fit into its 1920x1080 video out stream. For a full frame image you’ll want to be in 16:9 HD mode.

Adrian Jebef
DIT
(626) 840-1260





On Oct 30, 2020, at 5:40 PM, Andy Jarosz <andy@...> wrote:

 You'll need a capture card for the computer running Unreal, Blackmagic Decklinks are the best supported.

Genlock into the camera and the Decklink to ensure frame sync, and then do whatever you need too within Unreal. It's fairly straightforward. Your output will be a BlackMagicMediaOutput blueprint. All details on this here: https://docs.unrealengine.com/en-US/Engine/ProVideoIO/BlackmagicQuickStart/index.html

It doesn't really matter what the camera is outputting as long as it's a supported frame rate and res. You can apply LUTs in Unreal, or you can use postprocessing to match Unreal to the camera. Just depends on what you want to do.

 If you're using Composure within Unreal, you can use the SDI out of the Decklink into whatever recorder you want. As Bob mentioned, this is a different signal and is independent of the camera.  You can also just output the foreground or background elements from Unreal and record the camera feed separately for compositing in post.

-- 
Andy Jarosz
MadlyFX & LOLED Virtual
loledvirtual.com
Andy@...
708.420.2639
Chicago, IL
On 10/30/2020 1:
On 10/29/2020 12:25:16 PM, Oscar Molano wrote:
Hello
 
We are having a shoot where we need to record the MON OUT signal of an Alexa SXT Camera due to it being fed to Unreal Engine and outputted from there with a live composite into a External Recorder.
 
I notice on the Alexa Webpage that says
 
1x proprietary signal output for EVF-1 viewfinder
4x MON OUT: 1,5G (SMPTE ST292-1)
uncompressed HD video with embedded audio and metadata
 


Re: External recording Using Alexa

Andy Jarosz
 

You'll need a capture card for the computer running Unreal, Blackmagic Decklinks are the best supported.

Genlock into the camera and the Decklink to ensure frame sync, and then do whatever you need too within Unreal. It's fairly straightforward. Your output will be a BlackMagicMediaOutput blueprint. All details on this here: https://docs.unrealengine.com/en-US/Engine/ProVideoIO/BlackmagicQuickStart/index.html

It doesn't really matter what the camera is outputting as long as it's a supported frame rate and res. You can apply LUTs in Unreal, or you can use postprocessing to match Unreal to the camera. Just depends on what you want to do.

 If you're using Composure within Unreal, you can use the SDI out of the Decklink into whatever recorder you want. As Bob mentioned, this is a different signal and is independent of the camera.  You can also just output the foreground or background elements from Unreal and record the camera feed separately for compositing in post.

-- 
Andy Jarosz
MadlyFX & LOLED Virtual
loledvirtual.com
Andy@...
708.420.2639
Chicago, IL
On 10/30/2020 1:

On 10/29/2020 12:25:16 PM, Oscar Molano wrote:
Hello
 
We are having a shoot where we need to record the MON OUT signal of an Alexa SXT Camera due to it being fed to Unreal Engine and outputted from there with a live composite into a External Recorder.
 
I notice on the Alexa Webpage that says
 
1x proprietary signal output for EVF-1 viewfinder
4x MON OUT: 1,5G (SMPTE ST292-1)
uncompressed HD video with embedded audio and metadata
 


Re: External recording Using Alexa

Bob Kertesz
 

If I read your post correctly, you will be feeding the Alexa Monitor Out to the Unreal Engine, generating a composited image of some sort in the Engine, then you want to record the composited output of the Engine on an external recorder.

Which means it's the output resolution/colorspace/framerate of the Engine that's relevant, not that of the Alexa. The Alexa needs to feed what the Engine wants to see.

I'm not familiar with the Unreal Engine, and their web site is endless flashy marketing with little technical detail (I got bored after about five minutes of trying to find some), but it's likely you can set its output resolution/colorspace/framerate, so you have to decide what that will be and get a recorder to record that.

Unless I misread what you wrote, you will not be recording the Alexa directly at all - it's the foreground input for a downstream composite.

-Bob

Bob Kertesz
BlueScreen LLC
Hollywood, California

Mostly Retired Engineer, Video Controller, and Live Compositor Extraordinaire.

High quality images for almost five decades - whether you've wanted them or not.©

* * * * * * * * * *

On 10/29/2020 12:25:16 PM, Oscar Molano wrote:
Hello
 
We are having a shoot where we need to record the MON OUT signal of an Alexa SXT Camera due to it being fed to Unreal Engine and outputted from there with a live composite into a External Recorder.
 
I notice on the Alexa Webpage that says
 
1x proprietary signal output for EVF-1 viewfinder
4x MON OUT: 1,5G (SMPTE ST292-1)
uncompressed HD video with embedded audio and metadata
 
So the question is, does this uncompressed HD video can be recorded uncompressed or with minimum compression into ordinary external recorders? PIX, Shogun, the like.
 
Also what is the bit depth on this Mon Out signal, Say if I set my recorder to 444 Prores 10 Bit will I get the bit depth and color sampling out of the camera to fill in my external recording? is there any external recorder that can record the LOG signal of the camera as a Log Signal?
 
What would be the best approach you guys can suggest for a shoot like this using a Alexa SXT camera and recording a composite on an external recording?
 
Thanks



Re: External recording Using Alexa

Mitch Gross
 

I believe the Monitor Out from the camera will be limited to HD 16:9 4:2:2 10-bit. You can record this in uncompressed DPX files on the Odyssey7Q+ but I highly doubt you will see any advantage over recording in ProRes 422HQ. That’s available in many recorders. 

If you output in Log-C you can record in Log-C and set the recorder’s live output to either Log-C or to apply a LUT. Modern recorders have a standard Log-C to Rec709 included as an option or you can load a custom LUT. Please note that all recorders and most LUT boxes only output a 17x LUT, so even if they allow you to load a 33x or 64x LUT it will be concatenated to a 17x. For most used this is fine but I point it out in case you’re use with Unreal Engine may have an issue. I believe the IS-Mini will apply un-concatenated LUTs. 

Mitch Gross
New York

On Oct 30, 2020, at 1:30 AM, Adrian Jebef via cml.news <adrianjebef=yahoo.com@...> wrote:

Because the SXT doesn’t have a dedicated Rec Out for external recorders like the old Classics do your best bet is to set the camera into HD 16:9 mode and set your outs to clean. There are plenty of recorders on the market that will record uncompressed or compressed codecs. Log or gamma corrected. 422 or 444.

Adrian Jebef
DIT
(626) 840-1260








On Oct 29, 2020, at 8:34 PM, Mark Kenfield <mark@...> wrote:


The Odyssey7Q will let you record both uncompressed DPX or Prores4444 XQ, so that's your best option for getting the highest possible quality external recording. I think most of the others are limited to regular Prores4444 (though some might do XQ as well).

That said, I forget if the SXT can actually output 4:4:4 externally, or if you're limited to 4:2:2 🤔

Cheers,

Mark Kenfield
Cinematographer

0400 044 500


On Fri, 30 Oct 2020 at 14:07, Oscar Molano <oscmol19@...> wrote:
Hello
 
We are having a shoot where we need to record the MON OUT signal of an Alexa SXT Camera due to it being fed to Unreal Engine and outputted from there with a live composite into a External Recorder.
 
I notice on the Alexa Webpage that says
 
1x proprietary signal output for EVF-1 viewfinder
4x MON OUT: 1,5G (SMPTE ST292-1)
uncompressed HD video with embedded audio and metadata
 
So the question is, does this uncompressed HD video can be recorded uncompressed or with minimum compression into ordinary external recorders? PIX, Shogun, the like.
 
Also what is the bit depth on this Mon Out signal, Say if I set my recorder to 444 Prores 10 Bit will I get the bit depth and color sampling out of the camera to fill in my external recording? is there any external recorder that can record the LOG signal of the camera as a Log Signal?
 
What would be the best approach you guys can suggest for a shoot like this using a Alexa SXT camera and recording a composite on an external recording?
 
Thanks


Re: External recording Using Alexa

Adrian Jebef
 

Because the SXT doesn’t have a dedicated Rec Out for external recorders like the old Classics do your best bet is to set the camera into HD 16:9 mode and set your outs to clean. There are plenty of recorders on the market that will record uncompressed or compressed codecs. Log or gamma corrected. 422 or 444.

Adrian Jebef
DIT
(626) 840-1260








On Oct 29, 2020, at 8:34 PM, Mark Kenfield <mark@...> wrote:


The Odyssey7Q will let you record both uncompressed DPX or Prores4444 XQ, so that's your best option for getting the highest possible quality external recording. I think most of the others are limited to regular Prores4444 (though some might do XQ as well).

That said, I forget if the SXT can actually output 4:4:4 externally, or if you're limited to 4:2:2 🤔

Cheers,

Mark Kenfield
Cinematographer

0400 044 500


On Fri, 30 Oct 2020 at 14:07, Oscar Molano <oscmol19@...> wrote:
Hello
 
We are having a shoot where we need to record the MON OUT signal of an Alexa SXT Camera due to it being fed to Unreal Engine and outputted from there with a live composite into a External Recorder.
 
I notice on the Alexa Webpage that says
 
1x proprietary signal output for EVF-1 viewfinder
4x MON OUT: 1,5G (SMPTE ST292-1)
uncompressed HD video with embedded audio and metadata
 
So the question is, does this uncompressed HD video can be recorded uncompressed or with minimum compression into ordinary external recorders? PIX, Shogun, the like.
 
Also what is the bit depth on this Mon Out signal, Say if I set my recorder to 444 Prores 10 Bit will I get the bit depth and color sampling out of the camera to fill in my external recording? is there any external recorder that can record the LOG signal of the camera as a Log Signal?
 
What would be the best approach you guys can suggest for a shoot like this using a Alexa SXT camera and recording a composite on an external recording?
 
Thanks


Re: External recording Using Alexa

Mark Kenfield
 

The Odyssey7Q will let you record both uncompressed DPX or Prores4444 XQ, so that's your best option for getting the highest possible quality external recording. I think most of the others are limited to regular Prores4444 (though some might do XQ as well).

That said, I forget if the SXT can actually output 4:4:4 externally, or if you're limited to 4:2:2 🤔

Cheers,

Mark Kenfield
Cinematographer

0400 044 500


On Fri, 30 Oct 2020 at 14:07, Oscar Molano <oscmol19@...> wrote:
Hello
 
We are having a shoot where we need to record the MON OUT signal of an Alexa SXT Camera due to it being fed to Unreal Engine and outputted from there with a live composite into a External Recorder.
 
I notice on the Alexa Webpage that says
 
1x proprietary signal output for EVF-1 viewfinder
4x MON OUT: 1,5G (SMPTE ST292-1)
uncompressed HD video with embedded audio and metadata
 
So the question is, does this uncompressed HD video can be recorded uncompressed or with minimum compression into ordinary external recorders? PIX, Shogun, the like.
 
Also what is the bit depth on this Mon Out signal, Say if I set my recorder to 444 Prores 10 Bit will I get the bit depth and color sampling out of the camera to fill in my external recording? is there any external recorder that can record the LOG signal of the camera as a Log Signal?
 
What would be the best approach you guys can suggest for a shoot like this using a Alexa SXT camera and recording a composite on an external recording?
 
Thanks

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