RECORD 4K, HD & RAW* DIRECT TO HOLLYWOOD EDITING STANDARDS
Record direct from the camera sensor to your choice of Apple ProRes, DNxHD/DNxHR or RAW* in 10-bit 422 quality onto affordable media options. Based on the camera’s output the Shogun can accept and record up to 4K 30p and HD 120p over HDMI or 12/6/3/1.5G SDI.
* RAW recording with future firmware update - See table below for latest release schedule
REVIEW INSTANTLY ON SET
Full playback controls allow collaboration on set to review content the moment it’s captured, using the full suite of monitor tools on screen or out to a larger HDMI or SDI monitor. There is even 4K to HD down scaling to connect with existing HD infrastructure.
THE WORLD’S MOST ADVANCED AUDIO AND VIDEO MONITOR
A stunning 7.1” 1920 x 1200 320ppi IPS screen makes Shogun perfect as a director’s monitor. Shoot more accurate colors with class leading 3D LUTs, 2:1/1:1 zoom for critical focus, waveform, focal assist and an optional Spyder calibration unit. It’s the perfect tool for perfect creative shot setup.
METADATA TAGGING AT POINT OF ACQUISITION
Save time in post by tagging your captured content the moment you review on set. Mark Favorite/Reject, create a custom playlist*, upload custom meta data tags* and even cut in/out points. Save them out as an XML on the Shogun and drop straight onto the timeline of your favorite NLE.* Available with firmware 6.3
2015 FUTURE UPDATES
4K off the sensor in edit friendly 422 10-bit Apple ProRes 422 for increased color depth & 10-bit for high quality post effects.
Spectacular 7.1” 1920x1200 320PPI SuperAtom IPS capacitive touch-screen.
Affordable, readily available SSD, HDD & CFast. Use singularly or raid 2 x HDD together to manage extra long 4K record times.
Our most advanced OS yet, with more monitoring features and a GUI to exploit the super resolution screen.
All the tools for perfect color, exposure & focus. Waveform, RGB parade, luma overlay, vectorscope, test pattern, 2:1 zoom, focus peaking, false color, zebra 0-100% & blue only.
A pro monitor requires pro audio. An included breakout Lemo cable gives balanced XLR, line/mic, phantom power & 2ch balanced output.
Trigger record start/stop & record timecode direct from the camera over HDMI (select Canon, Sony and cameras with the Atomos protocol) & SDI (all cameras).
Send 4K safely and conveniently using our 12G SDI connection. Avoid multiple SDI cables and avoid dropped frames.
Create FCPX XML projects on the fly with Favorite/Reject flags in the meta-data so you are ready to edit straight away in FCPX or Adobe Premiere.
Out of the box colors you can trust with calibration to SMPTE Rec. 709 & D65 white point or Canon C-Log. Alternatively enable Canon C-Log, Sony S-log 2/3 or calibrate on the fly with an optional Atomos Spyder.
Synchronize with the camera’s timecode & record run, free run, time-of-day time codes for independent external recording.
Lock to an external Genlock reference signal to synchronize the Shogun’s SDI playout. A must have for multiple camera shoots in a studio environment.
SHOGUN OS UPDATES
Custom meta data tagging
Anamorphic de-squeeze (including Panasonic 8:3)
Pre-roll record (8s HD, 2s 4K)
Custom time lapse recording (multi stage, duration & interval)
Custom playlist generaton
LUTs applied on output
Sony FS series RAW to ProRes, DNxHR and CDNG
Cinema 4K DCI support (4096 x 2160p)
Canon C500 RAW to ProRes, DNxHR, CDNG
Arri Alexa RAW to ProRes, DNxHR, CDNG
AJA CION RAW to ProRes, DNxHR, CDNG
HyperDeck Shuttle dramatically improves the quality of video cameras and is the perfect portable field recorder for live production switchers! It's also the ultimate solution for digital signage. HyperDeck Shuttle gives you the quality and flexibility of compressed ProRes or DNxHD and uncompressed recording direct to common low cost SSDs in the smallest possible size! HyperDeck Shuttle is compact, affordable and battery powered so it’s perfect as a field recorder. HyperDeck Shuttle bypasses your camera’s compression and records from SDI and HDMI direct into the highest quality video possible! SSDs are cheap and fast, so you can edit directly from the SSD media itself. Only SSDs eliminate time wasting file copying! Only £269
Now you have the freedom to work in both compressed and uncompressed video depending on the needs of your project! Uncompressed video will always produce the highest quality mathematically perfect results and is ideal when recording video for color correction, chroma keying and high end VFX work. When you need longer recording duration or you're working with lots of video material, HyperDeck Shuttle 2 can be instantly changed over to use ProRes or DNxHD MXF compressed video files. The popular Apple ProRes 422 (HQ) and Avid DNxHD files are SMPTE standard codecs that are used by thousands of broadcast and post production facilities worldwide as they maintain the highest 10-bit video quality with the advantage of smaller file sizes.
With a compact and incredibly sturdy design, HyperDeck Shuttle is machined out of a solid block of aircraft grade aluminum! That means you get a design with the strength to go anywhere! Take your HyperDeck Shuttle into the field, on set, to live events, or even on your extreme sport shoots. With an internal battery, just recharge and go! The possibilities are virtually endless! Read more >
Simply plug a 2.5” solid state disk into HyperDeck Shuttle and you get video recording with blazing fast speed, low power consumption and totally silent operation. Now you can eliminate complicated and expensive disk arrays. A single SSD can record either compressed or uncompressed video effortlessly! Removable media like CF and SxS cards simply cannot match that kind of performance and require slow file copying to use. Read more >
HyperDeck Shuttle improves every step of your production workflow pipeline. For quick on set client preview, connect HyperDeck Shuttle to a projector or TV via the HDMI or SDI outputs. Mount an SSD drive to a computer for instant access to video files. Read more >
HyperDeck Shuttle has standard deck style function buttons, as well as LEDs that indicate input signal lock, recording and battery status. With the affordable HyperDeck Shuttle you won’t be tying up your expensive VTRs, but you’ll still be in familiar operating territory. Read more >
HyperDeck Shuttle captures universally compatible uncompressed QuickTime files or compressed Apple ProRes 422 (HQ) and Avid DNxHD MXF files. Perfect with Media Composer, Final Cut Pro, Premiere Pro CC and leading video applications like DaVinci Resolve. Read more >
With SDI and HDMI inputs and outputs, HyperDeck Shuttle works with virtually every camera, deck or monitor! Effortlessly plug into monitors or televisions for instant on set preview. Use HyperDeck Shuttle as the video playback source for digital signage systems or switchers. Imagine using HyperDeck Shuttle connected to a live production switcher for recording events, and then using it for live playback! HyperDeck Shuttle can do almost anything and it’s so small you’ll take it everywhere!
Introducing the world's most exciting portable broadcast deck that fits in your hand. Get the highest quality compressed and uncompressed video! Dramatically improve the quality of professional or consumer cameras! HyperDeck Shuttle records and plays back uncompressed QuickTime, and Apple ProRes 422 (HQ) or Avid DNxHD MXF files to common low cost SSDs so you can edit direct from the recorded files!
Buttons for Record, Stop, Next Clip and more!
Activates the display mode.
Power on and off. Hold button for 2 sec to turn off.
Shows a valid video input is present.
Shows reads and writes from your SSD.
Shows charge state of the internal battery.
Charge and power your HyperDeck Shuttle. Power supply connection supports 12V to 18V.
HDMI capture and playback connections.
SDI/HD-SDI input and output connections.
Update your software and change settings!
With a compact and incredibly sturdy design, HyperDeck Shuttle is machined out of a solid block of aircraft grade aluminum! That means you get a design with the strength to go anywhere! Take your HyperDeck Shuttle into the field, on set, to live events, or even on your extreme sport shoots. With an internal battery, just recharge and go! The possibilities are virtually endless! There’s no need to haul around a computer because the lightweight HyperDeck Shuttle does it all, yet fits easily in your backpack! You can even add HyperDeck Shuttle to your tripod along with your camera!
Simply plug a 2.5” solid state disk into HyperDeck Shuttle and you get video recording with blazing fast speed, low power consumption and totally silent operation. Now you can eliminate complicated and expensive disk arrays. A single SSD can record either compressed or uncompressed video effortlessly! Removable media like CF and SxS cards simply cannot match that kind of performance and require slow file copying to use. With no moving parts, SSDs are extremely robust and you can edit direct from the disk. Only SSDs can easily handle shocks and vibrations that would destroy conventional hard drives or videotapes.
HyperDeck Shuttle captures the world's most popular video files in native uncompressed 10-bit QuickTime and compressed Apple ProRes 422 (HQ) or Avid DNxHD MXF files. Recording straight to ProRes or DNxHD is perfect for working with the full Avid Media Composer family of software including NewsCutter and Symphony. There is no need to reformat or transcode your files, so you get the most efficient Avid workflow. DNxHD files can easily be graded natively with DaVinci Resolve using full AAF roundtrip with Media Composer. HyperDeck Shuttle also records direct to mathematically perfect quality uncompressed 10-bit QuickTime files that can be used with all popular video software like Final Cut Pro, Premiere Pro CC, After Effects CC, DaVinci Resolve and more!
HyperDeck Shuttle improves every step of your production workflow pipeline. For quick on set QC or client preview, connect HyperDeck Shuttle to a projector or television via the HDMI or SDI outputs. You can even edit directly from the SSD with no digitizing or file copying. Simply plug the SSD into your laptop or desktop via a standard external eSATA dock and the disk mounts right on your computer’s desktop! SSDs are not much bigger than a credit card, so they can be sent anywhere in a simple overnight envelope.
HyperDeck Shuttle has standard deck style function buttons, clearly marked and easily accessible along one side, as well as LEDs that indicate input signal lock, recording status and battery status. With the affordable HyperDeck Shuttle you won’t be tying up your expensive VTRs, but you’ll still be in familiar operating territory.
Get the compact, portable and affordable disk recorder that’s battery powered so it’s the perfect on set field recorder! HyperDeck Shuttle records to uncompressed QuickTime and compressed Apple ProRes 422 (HQ) or Avid DNxHD MXF file formats. Bypass your camera’s compression and record from SDI and HDMI onto low cost solid state disks. SSDs are cheap and fast, so you can edit directly from the SSD media itself!
1 x 10-bit SD/HD switchable via DIN 1.0/2.3 connector.
1 x HDMI type A connector
16 channels embedded in SD and HD in QuickTime files. 2 channels in Avid DNxHD MXF files.
8 channels embedded in SD and HD in QuickTime files. 2 channels in Avid DNxHD MXF files.
2 channels embedded in SD and HD
1 x 2.5" SATA 3Gb/s
7 buttons for local control of HyperDeck Shuttle or use USB 2.0 high speed interface.
Use USB 2.0 high speed interface
1 x Mini-B type USB 2.0 connector for initial setup, software updates and HyperDeck Utility software control.
625/25 PAL and 525/29.97 NTSC. 480p60 and 576p50 via HDMI only.
720p50, 720p59.94, 720p60, 1080i50, 1080i59.94, 1080i60, 1080PsF23.98, 1080PsF24, 1080PsF25, 1080PsF29.97, 1080PsF30, 1080p23.98, 1080p24, 1080p25, 1080p29.97, 1080p30
SMPTE 259M, SMPTE 292M
HD RP188 and closed captioning.
Television standard sample rate of 48 kHz and 24-bit
REC 601, REC 709
SDI and HDMI switches between 270 Mb/s standard definition SDI and 1.5 Gb/s HD-SDI.
HDMI input is unable to capture from copy protected HDMI sources. Always confirm copyright ownership before capture or distribution of content.
Uncompressed 10-bit QuickTime, Apple ProRes 422 (HQ) QuickTime, Avid DNxHD QuickTime, Avid DNxHD MXF.
Mac OS X 10.9 Mavericks, Mac OS X 10.10 Yosemite or later.
Windows 7 or Windows 8.
Rechargeable built in lithium-ion polymer battery.
+12V universal power supply included with international socket adapters for all countries. Connection supports 12V to 18V.
The Odyssey7Q+ is the most advanced, most capable, most versatile monitor/recorder in the world. The Odyssey7Q+ can record HD/2K/UHD/4K. It can record them via SDI and HDMI. It can record RAW, uncompressed DPX, and Apple ProRes 422 (HQ). The Odyssey7Q+ features an OLED 1280x800 monitor with true blacks, accurate colors, extended color gamut and a 176 degree viewing angle.
Along with the best image in the industry, the Odyssey7Q+ also features an extensive array of image analysis tools, including an RGB waveform, RGB Histogram, False Color, Pixel Zoom with finger drag, three-mode Focus Assist and monitoring LUTs. The unique Multi-Stream Monitoring mode allows up to four HD video inputs to be viewed at once in a quad-split view or to be live-switched between in full screen.
I ncludes all RAW Record Options for the Odyssey7Q+ and Odyssey7Q combined into one powerful and affordable bundle; $595 one-time upgrade fee includes all RAW recording features now and free upgrades in the future.
Immense engineering and design effort has gone into making the Odyssey7Q+ one of the most powerful and innovative products our industry has to offer. Odyssey is built with challenging environments and high performance in mind. The Magnesium alloy case protects the device from damage and keeps the fanless design cool throughout a day on the set. Every element of the Odyssey has been tested and proven to perform well and fit perfectly into your workflow. Customers now have the flexibility to use a range of high-performance Samsung 850 EVO and 850 EVO PRO SSDs in 1TB, 512GB, 256GB and 128GB capacities, which are competitively priced and widely available. These are high-performance, affordable SSDs that have the speed and reliability required for high-bit rate recording. We know that you can trust your footage to these high-performance SSDs, and we provide a 10-year performance warranty on Samsung SSDs we qualify and sell.
With the traditional LCD, the bulky display cell of the LCD is backlit with a line of lights or a single lighted panel. With LED, the LCD cell and assembly is still backlit but with individual lights, making up a large grid of individual lights. What makes OLED displays better is the infinite contrast and true black. Long gone are the days of a white wash effect that turns dark bold colors into lighter colors because of white back-lighting. Now all colors are projected as their true color, not just lit up with white lighting.
Focus Assist features three display modes. PEAKING Edge detection based on contrast, with variable sensitivity. Image can be displayed with edges highlighted in red, green, blue, black white or yellow. Or only detected edges can be displayed as white, with other image elements in black. REVEAL A more aggressive, complex focus detection system. Sharper objects highlighted, with a variable sensitivity control. Can be combined with Peaking under that control’s menu. ENHANCE Simple edge enhancement display. Allows for easier judging of focus by artificially augmenting sharpness on the OLED display. Pixel Zoom enlarges a section of the image on the OLED panel to better judge focus and other aspects of the image. The resolution of the video area of the OLED panel is 1280x720. 1:1 zoom and 2:1 zoom enlarge a select section of the image to a pixel-for-pixel crop. 1:1 shows a 1280x720 crop from a 2K/HD signal, 2:1 shows a 1280x720 crop from a 4K/UHD signal. Hyper Zoom modes show a reference window on the image and an enlarged representation of the image within that window on the lower right corer of the OLED screen. Hyper Zoom modes include 4:1, 6:1, 8:1, 10:1 and 12:1. The Odyssey Pixel Zoom offers the unique function of allowing the enlarged window to be moved within the image frame simply by dragging a finger or stylus on the OLED screen.
Zebras is an exposure tool to indicate any part of the image that is at a particular brightness. Zebra patterns can be represented in Black, White, Red, Green, Blue, Yellow, Cyan, or Magenta colored stripes, and the underlying image is visible in between the stripe lines. Brightness range for each Zebra pattern can be individually selected with a high and low setting or that Zebra pattern can be switched off. Ranges can overlap, and any exposure value not selected will be represented as it appears in the underlying image.
Spot Meter is an exposure reference tool, presenting a brightness reading at a selected part of the image in both brightness (Luma) as well as the three separate color channels (Red, Green, and Blue). The Spot Meter can be set to display a single-measurement target, two-measurement targets or eight-measurement targets. A graphic comparison display can be set to show the two target values side-by-side or the differential between them.
A Histogram is an exposure tool indicating brightness by volume of image across a horizontal plane. The brighter the image the farther it is to the right. The more of an image registering at a particular brightness the taller the line graph at that brightness. It can be set for overall brightness (Luma), with the three color channels separated (RGB Parade), or as the individual color channels only (Red, Green, or Blue).
A Waveform is an exposure tool used for measuring the brightness of the image throughout the frame. It can be set for overall brightness (Luma), with the three color channels separated (RGB Parade), or as the individual color channels only (Red, Green, or Blue). The Waveform display aligns left-right to the image on the OLED display. In Multi-Stream mode, if two images are displayed side-by-side then the Waveform can be used to compare the signals.
False Color is an exposure reference tool, attributing different colors to various brightness portions of the image. Available colors are Red, Yellow, Pink, Green, Blue and Purple. A video signal is measured in a scale from -7 to 109, often marked as a % or with the suffix IRE.
A Vectorscope measures the color spectrum represented in the video signal. Different hues are represented by the rotation around the circle. Different saturations are represented by the distance from the center to the perimeter of the circle. Reference targets represent specific values in both hue and saturation. Two diagonal lines bisect the Vectorscope circle. The “I” line passes from orange to blue hues, and roughly represents the tonal reference for common skin tones. The “Q” line passes from green to magenta and is useful in indicating imbalance between those opposing hues.
A Look Up Table (LUT) is a set of exposure, contrast and color offsets to adjust an image. Originally designed as a tool to indicate on one display how an image would appear on a different type of display, LUTs have expanded to also become tools to preview color grading decisions. The Odyssey7Q+ includes numerous 3D-LUTs for previewing the LOG video outputs of several popular cameras in standard REC709 contrast and color.
Monochrome represents the individual color channels (Red/Green/Blue) or the overall brightness (Luma) in a gray scale image.
Frame Guide presets available are 1.33:1, 1.85:1 and 2.39:1. Odyssey also gives you the ability to name and save up to four custom frame guides. Left/Right control sets frame sides. Top/Bottom control sets frame lids. Linking adjusts Left/Right or Top/Bottom together. Rectangle eliminates lines outside inner box. Select colors between White | Black | Red | Green | Blue | Yellow. Up to four custom frame guides plus one preset frame guide can be displayed at the same time.
Horizontally stretches image to correct for use of optical anamorphic lenses. Image altered on OLED screen as well as SDI and HDMI outputs. Does not affect recording. Options are labeled in squeeze multiplier and displayed aspect ratio. Full Frame options always show full width and height of recorded signal. Center Extraction options show popular extracted frames.
The image on the OLED can automatically flip to match the orientation of the screen if needed, or this feature can be disabled. This allows for flexible mounting of the Odyssey.
While the Odyssey’s OLED screen provides an excellent image with intuitive touch screen controls and information displays, sometimes one does not want to see it all. The Hide function can be set to make either the controls & displays disappear or the video image go black. A tap anywhere on the screen brings the full display back.
The 633 is a compact, six-input mixer with integrated 10-track recorder featuring PowerSafe™ technology. It offers six analog inputs and records to SD and CompactFlash memory cards. The 633 is designed for audio professionals requiring go-anywhere portability, without compromising recording or mixing capability.
The 633 offers three high-bandwidth mic/ line inputs on XLR connectors (3+3), complete with phantom power, high-pass filter, input limiter and variable pan. Three additional line-level inputs on TA3 (mini-XLR) connectors offer flexibility for more complex productions. All inputs are assignable to its six output buses, left/right plus Aux 1/2/3/4.
All six inputs plus output buses left/right and Aux 1/2 can be recorded to individual tracks. The 633 offers 10-track 24-bit, 48 kHz uncompressed WAV recording (96 kHz and 192 kHz sampling up to six tracks) to SD and CompactFlash memory cards. The two cards can be set independently, recording either identical material for a real-time backup, or combinations of WAV and time code stamped MP3 files.
Powered by a unique Quad Power supply with PowerSafe™ technology, the unit is operational from any of four power sources. Sources can include external DC (12-18 V), two removable 7.2 V L-type lithium ion cells, and six internal AA batteries. The 633 automatically switches from one power supply to the next when power is exhausted or removed. With its combination of power sources, the 633 can operate for a full production day on batteries alone.
When all power sources are removed or depleted, the unit’s PowerSafe™ circuitry is activated. PowerSafe™ keeps the 633 operating for up to 10 seconds and ensures that all file operations are fully closed and the unit gracefully shuts down.
Two second power on-to-recording. Never wait on sound!
Clear, fast, easy to navigate controls and interface; visible in all light conditions, configurable metering and display.
The 633 integrates a rock-steady Ambient timecode generator, supporting all common rates and modes. In addition to timecode, the 633 supports extensive file metadata. Metadata is entered from either the front panel or from an attached USB keyboard.
Designed to withstand the extremes of field production, the 633's small, lightweight, compact chassis is made from molded, metalized carbon fiber. It is built on Sound Devices' strong heritage of high performance audio mixers, audio recorders, and video recorders.
The Zaxcom ZFR 300 (Zaxcom Flash Recorder) is the same size as Zaxcom TRXLA2 wireless transmitter and can accept standard lavaliere microphones. A stereo ZFR can accept two lavaliere microphones, or two unbalanced microphone inputs.
The ZFR can be used as an easy way to record ISO tracks on multiple talent with no fears of being out of range or having to deal with RF issues. On power up the ZRF will jam time code via the ZaxNet 2.4Ghz signal and will then start transmitting QC audio with time code within 10 seconds. The built-in ZaxNet transmitter is used for quality control monitoring and can be used as a timecode master to wirelessly jam other recording body pack recorders or recording wireless transmitters. The body packs can optionally re-jam time code every few minutes to maintain sub-frame accurate time code lock. At the end of your shoot you gather each SD memory card from the ZFR and deliver them to post. Post production can then easily drop each ISO track into their non-linear edit system and have a clean timecoded audio track to work with. Recording systems can be as simple as a single ZFR recorder and a single ERX2TCD receiver to wirelessly monitor the audio and time code from the recorder. Any number of ZFR recorders and wireless transmitters can be utilized to form an unlimited virtual multi-track recording system. The advantage of this system is that for production sound it eliminates the limitations of wireless microphones.