I am investigating the Hyperdeck Shuttle for my Sony F3 but have some questions I did not find answers for on the internet

Will this recorder work in the 720p60 overcrank mode ?
Has anyone experience on the work flow on windows adobe premiere pro cs6 ?will the 10bit uncompressed mov work fully with cs6 bundle?
Thanks Rudy

Will not work in overcrank mode. Basically it records whatever signal the camera puts out via SDI or HDMI. The simple answer is the over/undercrank does not pass through camera. The Nanoflash does under and overcranking because it is implemented through the recorder itself rather than via camera signal.

I haven't tried the uncompressed .mov in PPro but I can't imagine why it wouldn't work. And just be aware of the massive amounts of data generated by uncompressed video. Do you really need uncompressed?

You can send out a 720p50/720p60 signal through the 'monitor' port, I don't know if you can set the Hyperdeck to record that format though. It's how I get 10-bit 50p footage on my PIX240.

You'll need to record in 60p though and conform your footage back to 23.98p on the computer

You can certainly send 10bit 60p 720 to the hyperdeck, if its configured matching what Mark said. I do it all the time.

Right. You can do it that way. But it is not like recording under/over directly to the cards.

Thanks all for the responses @Ned it is not that I need uncompressed but since I am working on windows 7 with adobe premiere pro 64 bit workflow and the nanoflash looks really good as well only if I have to use recorder I prefer to get the 10bit.
I have read somewhere that the ProRes and the DNxHD won't work on 64bit and will not support the Cuda I have no idea if that is true.Do you know if they work on 64bit cs6 ?

I was just testing the hyperdeck shuttle 2 on the F3 with CS6 this week, I can open all three formats from the deck except DNxHD MXF (you need Avid for that).

So these opened for me in Windows 7 64-bit no problem:
- Uncompressed QuickTime
- DNxHD QuickTime
- ProRes QuickTime

By the way in my brief test I also shot straight to SXS and there is not a lot of difference when recording and comparing standard un-graded images... but I do plan to continue tests that involve more complex subjects including extensive gradients, extensive detail, as well as exposure lattitude in post.

I am using Cuda, it is enabled when I create a new project and so far I have not received any system messages advising it can not be used, etc...

Cheers,

Thanks all for the responses @Ned it is not that I need uncompressed but since I am working on windows 7 with adobe premiere pro 64 bit workflow and the nanoflash looks really good as well only if I have to use recorder I prefer to get the 10bit.
I have read somewhere that the ProRes and the DNxHD won't work on 64bit and will not support the Cuda I have no idea if that is true.Do you know if they work on 64bit cs6 ?

Download the codec package and see if it works. It should work fine. DNxHD requires much less processing horsepower to render to the monitor so the power of CUDA won't likely be needed for display. It is true that CUDA will not be utilized when transcoding RAW footage to DNxHD. Obviously taking DNxHD from the recorder prevents any need for transcoding. Just import and go.

Avid Codecs 2.3.7 Download (http://avid.force.com/pkb/articles/en_US/download/en423319)

By default under a clean installation of Windows 7 64-bit CS6 and quicktime Adobe CS6 suite will open the Uncompressed QuickTime and ProRes QuickTime files.

But as Chris pointed out and as I found out this week in my testing you can only open the DNX QuickTime files in CS6 if you download and install the additional codec/drivers.

As far as I know you will never be able to open native DNxHD MXF files in anything other than Avid.

thanks a lot I will give it a try

Also if you're looking for deck power solutions, this ebay seller has power cables that fits the jack of the deck properly and terminates to a d-tap plug. Then all you need is a plate to power your camera that also gives you a d-tap terminal and you can power your deck and F3 with an external battery.

D-Tap DC Cable fr DSLR Rig Power Supply LED light V-mount Anton Bauer Battery | eBay (http://www.ebay.ca/itm/170931591123#ht_1932wt_952)

Dennis I have the EX-L96 - Switronix battery. Do you think this will work to power the F3 and the hyperdeck shuttle?

I use the same battery to power the F3 and a PIX240. The PIX is pretty power hungry. I expect it to work fine with the hyperdeck.

The F3 draws 18 - 24 watts and I can't find the specs on the BM Deck, but I know that SSD drives draw anywhere from 2 - 6 watts so you can bet overall to draw anywhere from 20 - 30 watts total on your F3 rig providing you're not powering additional devices, etc..

Since a EX-L96 is rated at 96Wh you can divide that number by the total number of watts you are drawing and it will give you an approximate time in hours you can run it before discharge. (So approximately 3 hours in your case).

The Hyperdeck also has a built-in battery that will last an hour so if you chose not to hook it up to your Swit until needed you can squeeze even more time out of your power back and maybe get up to 2-3 hours. And while you'[re on stand-by mode and not recording your times will only increase even more.

Post some pictures of your rig or footage once you get it up and running.

The F3 draws 18 - 24 watts and I can't find the specs on the BM Deck, but I know that SSD drives draw anywhere from 10 - 45 watts so you can bet overall to draw anywhere from 75 - 100 watts total on your F3 rig providing you're not powering additional devices, etc..



The Samsung SSDs I am using are rated at 0.15w. Most spinning drives are below 10w once started. 10k and 15krpm drives are in the 10-15w range.

Using the PIX-240, F3, and SmallHD DP6 together on a 96wh battery I get 2.5-3hrs of runtime. That suggests a total consumption of everything in the 30-40wh range.

Ah yes I was thinking spin-up drives. I will correct my post before someone takes it as gospel.

Most SSD's are .5w when not doing anything but once in operation they can range from 2w up to 6w depending on the manufacturer and specific model. Still rather negligible as you suggest.

Also if you're looking for deck power solutions, this ebay seller has power cables that fits the jack of the deck properly and terminates to a d-tap plug. Then all you need is a plate to power your camera that also gives you a d-tap terminal and you can power your deck and F3 with an external battery.

D-Tap DC Cable fr DSLR Rig Power Supply LED light V-mount Anton Bauer Battery | eBay (http://www.ebay.ca/itm/170931591123#ht_1932wt_952)


Dennis thanks for the link I just ordered the cable just waiting on the rest I will post pictures later

Great and if you don't have a v-mount plate you can also buy one from him as well which has a d-tap port on the side. But you would need to install/solder your own connector on the end to power your camera and also make note of the proper polarity.

BP Battery Adapter Adaptor V-mount Mount Plate fr IDX Sony D-Tap Power DSLR Rig | eBay (http://www.ebay.ca/itm/170901927349)

Sorry I should have put that link up earlier as well.

If you buy the hyperdeck shuttle plate for $100 and a rail mount from berkley it will let you mount the plate vertically on your rails and then you can mount your deck on one side and the power plate on the other.

Add a d-tap splitter and you've got enough room to grow and power the world with.

Dennis thanks for the link I just ordered the cable just waiting on the rest I will post pictures later

Rudy, be sure to check the polarity of the cable you get first before using it, you may need to flip the polarity around in the d-tap connector.

Check first!

Here is my F3 rig with hyperdeck and power solution:

http://i1119.photobucket.com/albums/k636/hingsberg/StarCentral_F3_zpsfab8f859.jpg

Dennis this looks very nice.I received the power cable from that ebay seller just waiting on the rest of equipment am exited to test out and will put pictures as soon as I have everything

Hi Rudy, sounds great that you received the d-tap to 2.5mm jack power cable. Sorry I will repeat it again, but please make sure you check the polarity of that power cable first before using.

For example, on my v-mount plate I actually had to put the d-tap cable on "backwards" in order to get the proper polarity out of the 2.5mm jack. I plan to open up the d-tap plastic housing and reverse the polarity when I get a moment.

Thanks Dennis I will check it out

Okay today I received my Hyperdeck Shuttle 2,Crucial m4 512GB SSD,Pro BNC Female to DIN,Comphrehnsive cables adapter BNC/M to BNC and also a Shoe plate to mount the hyperdeck till I get something better to mount .
I will put some pictures in a couple off days

The seller of the d-tap to 2.5mm power cable said he can configure the wires any way you want, or you can open the connector and flip things around if needed.

Sure post some pics once you get it all together!

Dennis I got a question I connected the Hyperdeck Shuttle 2 on my Sony F3 SDI out because that was the only way I got it to trigger the recorder is this normal ? Are you able to get the recorder to work on either SDI A or B ?

Yes I managed to get the recorder to work (see video and trigger) through both the monitor SDI out port, as well as the SDI-A out.

I do recall having some issues at first with SDI-A, mainly you have to go in the menu of the F3 and play around with the output options.

As for triggering I'd have to check what mode I used that worked for me.

CAUTION: one silly thing that took me hours to figure out is that when you use the USB cable and HyperDeck utility to change the settings of the deck, when you first power that deck up again make sure you press the STOP button on it. The default after powering up, or running an update is in PLAYBACK mode so it will NEVER trigger in that mode.

This wasn't even documented anywhere but it became a little more obvious once I hooked up a monitor to the HDMI output port on the deck for testing.

Once you get through the pain points, its smooth sailing from there.

Dennis the power cable worked just fine how I received it so lucky me...for the SDI A or the SDI B no luck but it works perfect on the SDI OUT so I will try to figure it out on the SDI A.
Picture is coming soon

In your menu is your "dual-link & gamma" option set to 1.5G YPbPr422 & Video ?

Yes I did, I also have been trying different settings in the hyperdeck utility It is on when sdi timecode runs it is kind of weird not only the trigger is not working also the record button on the recorder does not work when I connect thru the SDI A or B

Do you have the camera set for 60i mode by chance?

Yes I did, I also have been trying different settings in the hyperdeck utility It is on when sdi timecode runs it is kind of weird not only the trigger is not working also the record button on the recorder does not work when I connect thru the SDI A or B

I just checked, on the deck I'm using the option "when SDI timecode runs".

Also make sure when you power up the deck you press the stop button on it, when you press record on the F3 you should see the light go RED on the deck.

Failing this, go in the VIDEO SET menu and under SDI Rec Control try setting it from OFF to SYNCRO REC.

Let me know, I know I had the same problem getting it to work with SDI-A and after enough fiddling I finally got it to work.

Lastly you can go to your TC/UB SET menu, and you should notice when ever you switch from REC RUN to FREE RUN the deck should start recording. When you toggle back to REC RUN it should stop recording.

I figured it out when I put the camera on 1280x720 59.94 I am only able to get it to work on SDI out if I use any other setting on 23.97 and 29.97 the SDI A works fine.Thanks for all the help is there any difference in quality or something else between the SDI out and the SDI A

I figured it out when I put the camera on 1280x720 59.94 I am only able to get it to work on SDI out if I use any other setting on 23.97 and 29.97 the SDI A works fine.Thanks for all the help is there any difference in quality or something else between the SDI out and the SDI A

I wondered if that was the problem. The F3 does not output 720p over SDI A and B only 1080. If you set the camera to 720p60 with 1.5g enabled it outputs 1080p60 dual link over SDI A+B ports. That is more than the hyperdeck can handle.

I wondered if that was the problem. The F3 does not output 720p over SDI A or B only 1080. If you set the camera to 720p60 it outputs 1080p60 over SDI A port. That is more than the hyperdeck can handle.

I don't think the F3 can ever output 1080p60 over SDI A port since it is only 1.5G, you need to use both A + B ports to capture 1080p60. Each port would provide half the signal information.

I don't think the F3 can ever output 1080p60 over SDI A port since it is only 1.5G, you need to use both A + B ports to capture 1080p60. Each port would provide half the signal information.

That is exactly right. Each port is half of a dual link stream when the output is set to 1.5g.

The hyperdeck won't be able to understand that information.

I updated the post above to make it more clear.

Now I imported some test footage I recorded on the SDI A at 1920x1080 29.97p but it is showing it as 29.97i I looked in my f3 manual and it is showing the SDI would be 1920x1080 29.97psf so I am hoping it is just another setting I am doing wrong any help is appreciated

I am able to get 23.97psf when recording 23.97p but not the 29.97psf is anyone able to get the 29.97p on the hyperdeck shuttle 2?

The recordings will appear as 30i on the shuttle as the camera output is PsF and there is no way for an external device to know whether the signal is an interlaced one or an interlaced one containing progressive frames (PsF). It's normal for an external recorder to label PsF as interlace.

Thank you Alister for the explanation so if understand it correctly it is ok for me to import the 29.97i(recorded onto shuttle as progressive) in a progressive project in adobe cs6 and ignore the warning ? Because when I record 23.97p i can put the camera as psf and adobe cs6 then do recognize it as progressive

Any reason you don't want to use the SDI monitor port for recording?

Any pictures of your setup? : )

Dennis I need to explore it but I think the SDI out only did the 720 59.94p and had a narrow green line on the right of the picture but again I will need to do more testing to be sure and will try to post a picture late today

The monitor SDI output on the F3 can be set for 720 or 1080.

I used the monitor SDI output for a while to record 4:2:2 S-Log before the firmware update that allowed it on the main SDI ports.

Dennis I need to explore it but I think the SDI out only did the 720 59.94p and had a narrow green line on the right of the picture but again I will need to do more testing to be sure and will try to post a picture late today

Yes you can get full 1080p out your SDI monitor port. I do like using SDI-A however since it is higher on the back of the camera and it allows me to keep the protective caps in place that covers all the other the other ports.

My Sony PMW-F3 with Hyperdeck Shuttle 2

Very nice, and I like the location of the shuttle!

Thanks Dennis I also prefer the SDI a for its location and the location of the shuttle wasn't my first choice but after trying it out I do like it now my next goal is to find out what to do with the 29.97i (wrapped psf) in editing

I found what to do with the 29.97i(wrapped psf) apparently Premiere Pro is missing the psf workflow so I found an article that explained I need to manually interpret footage to progressive.Thank all of you guys with the help now I am ready to do some testing and probable chat soon again I really appreciate forums like this to learn a lot and share information.

If your project is progressive and you will always render out to progressive then you don't need to do anything with PsF files.

The only time you may need to do anything is when using PsF in an interlace project as any filters or effects will treat the file as an interlace file. This rarely causes an issue, but it may lead to some odd effects in some very rare cases.

It all comes down to the fact that when the standards for HDSDI were written 1080p25 and 1080p30 were not included, only 25i, 30i and 24p. So to get around this progressive is sent disguised as interlace.

What will cause nightmares is if you accidentally interpret a 1080i30 file as progressive because the frame will be processed as a progressive frame merging the two fields into a progressive frame. Any motion will then appear as combing or banding in the image.