[Colin Hubick]

Hello, with regards to the Hyper Deck Shuttle, does this unit have the ability when conected via HDSDI to cue it’s record from the HDSDI output from the camera?

Thanks
Colin

[Colin Hubick]

Hi Kristian, just some quick questions about the HyperDeck Shuttle;

– When feeding it a HDSDI signal, is it possible for it to get a cue through the HDSDI to start and stop recording? On the Sony F3 for example, my thinking is that you could be recording both to the SxS cards and to the Shuttle at the same time, by only hitting the record button on the camera.

– Does this device support TOD timecode? and is it possible to customize the naming convention of the clips to match the clip names on the SxS cards?

– Is there any plan in the future to support any additional codecs such as ProRes?

Any info would be great.

Thanks
Colin

[Colin Hubick]

A bit off topic, but a question about DaVinci Resolve (& lite) Is it possible to input custom LUTs in the .lut, .mga, or as a .txt file? Recently Canon and Technicolor developed a picture style for the DSLRs, and have provided the LUT in those formats.

Any help would be great.

Thanks
Colin

[Colin Hubick]

Illya Laney,

I agree with you, one of the main benefits of shooting .r3d raw is the ability to output in a color space and gamma that is appropriate for the project. For example if your intention is for a HDCAM or HDCAM SR master then there is an appropriate color space and gamma for that situation, but that option isn’t necessarily the best option if you intend on going through the DI process, and producing a film print. Yes you can output a HDCAM SR master and have that printed to film, but it does require an additional step to make the color space and gamma conversion for the print.

Larger facilities who do a 2k DI (2048×1152) typically work in LOG, and will output from the .r3d source in LOG. Working in a LIN color space like Rec.709 is much more limiting than LOG which is why most high end post facilities work LOG from the .r3d source.

best regards
Colin