Vimeo finally offers 4K uploads and downloads for Pro members

By technical editor Matt Allard:

Vimeo has finally rolled out the ability to upload and download 4K content – but only for its Pro members and people selling content though on demand. A Pro membership will set you back $200 a year. This still doesn’t provide a way for Vimeo users to stream content in 4K, which is extremely data intensive, but rather simply upload or download that content in 4K. It is an interesting move as You Tube has offered users the ability to publish their material in 4K for free for quite some time. We still very much live in a HD world but it would of been nice to see Vimeo at least offer this service to paying Plus members, and not only those willing to pay the top tier $200 a year for the privilege.

You will need a Vimeo Pro account to download or upload 4K.

You will need a Vimeo Pro account to download or upload 4K.

Jessica Casano-Antonellis, Director of Communications for Vimeo said “2015 is expected to be a breakout year for 4K content, and we want to support creators who are using Vimeo as a workflow platform to showcase and share their work in the most high-quality way”. Vimeo are yet to offer 4K streaming but surely this is only a matter of time. In 2014 we have already seen Netflix, YouTube and Amazon Prime offering access to 4K material.

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Posted on December 17th, 2014 by Matthew Allard | Category: 4K | Permalink | Comments (0)

Atomos Shogun 4K recorder finally ships – playback function to be enabled later with firmware update

By site editor Dan Chung:

Atomos Shogun Introduction from Atomos Video on Vimeo.

I spoke to Atomos earlier today and they confirmed to me that the highly anticipated Shogun 4K external recorder is now shipping. They also told me that they haven’t yet enabled playback in the device and that this function will be added in a later firmware updated expected some time around Christmas or shortly after. To coincide with the launch Atomos CEO Jeromy Young has made a video that fully explains all the features of the Shogun.

atomos shogun

As we previously reported on this site the Shogun’s release was delayed because the company said the “firmware is taking longer than expected to finalize taking into account our high standards of reliability”. They now say that 4K recording is fully stable and they have conducted all the relevant tests to make sure it meets those standards. The recorder hardware was ready a while ago and the stocks have been waiting in Atomos warehouses across the globe waiting for final firmware installation. This means that shipments will be almost immediate from now. This will be welcome news to users – many of whom have already payed deposits or in full for pre-orders.

Not having playback enabled at launch is unfortunate, but I think users who have already paid for the product would rather have it now than wait even longer. Lets hope the full potential of the recorder is unleashed as soon as possible.

Posted on December 17th, 2014 by Dan Chung | Category: 4K, External recorders | Permalink | Comments (0)

What are professional colourists grading in 2014? – An international survey shows footage from ARRI ALEXA is number one camera

By technical editor Matt Allard:

The annual ICA (International Colorist Academy) survey has been published and it gives a detailed view of trends in the world of professional colour grading. More than 400 colourists from 60 different countries took part in the survey.

World renowned colorist and Davinci Resolve trainer Warren Eagles has posted a video giving his thoughts about the results of the survey. I’ve put a brief synopsis of questions and responses below Warren’s video.

Q. What camera/cameras were used on the job you were grading?

Conclusions: The Arri Alexa was number 1, followed by the Red Epic which was last year’s poll topper. Other cameras that made up good percentages were Canon DSLR’s, the Canon C300 and the GoPro Hero.

What Film or TV genre are you grading?

Conclusions: There has been shifts in the types of project that are being graded. While TV commercials came in at number 1, documentaries and online web productions overtook corporates.

What grading system are you using?

Conclusions: Unsurprisingly the majority of colourists used the full version on Davinci Resolve came in at number one, with Davinci Resolve light at number two. Then there was a huge gap between these two and the next system which was Baselight.

What Codec are you rendering to?

Conclusions: ProRes 422HQ was number one with ProRes 4444 coming in a close second, the followed by DPX.

What frame size are you outputting to?

Conclusions: Despite the push to 4K, HD still completely dominated. 4K came in at only 14%.

What editing system was used to cut the show you are grading?

Conclusions: Adobe Premiere just edged out Final Cut Pro 7, with Avid not far behind in third. It is quite interesting to see Final Cut 7 still being so widely used. Final Cut X lagged behind but moved up to 17%. It was 3% last year.

What type of files are you grading?

Conclusions: RAW files were number one. Files recorded in a form of Log were number two, and original camera codecs and camera originals transcoded to ProRes, DNxHD or DPX were tied for third.

It is interesting to see the results from this survey. With new cameras being added all the time the type of material being graded is shifting. Despite this the edit systems, codecs in use and the colour grading suites seem to be remaining unchanged.

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Posted on December 17th, 2014 by Matthew Allard | Category: Grading, Video editing | Permalink | Comments (0)

Channel 7 cameraman Greg Parker captures the Sydney Seige and helps police

By technical editor Matt Allard:

Over the last day or so many you will have seen the extraordinary images of the siege at a Sydney cafe which ended in the deaths of three people including the attacker. As the story was making headlines around the globe Channel 7 cameraman Greg Parker was behind the camera that gave the world a close up view the Sydney siege.

Greg was inside the Channel 7 studios that are located adjacent to the Lindt cafe when the attack occurred. For more than 16 hours Greg manned multiple cameras recording events. But that wasn’t all. When police marksmen moved in to surround the cafe they realised that Greg’s cameras were perfectly situated to keep eyes on what was going on. Instead of being asked to vacate the position overlooking the cafe the officers requested that Greg stay and assist them. His long lens helped to provide crucial intelligence for the operation – at points he was even asked to point the camera in certain directions by the police command.

This turn of events was pretty unique. In most situations like this law enforcement tries to remove news cameras and prevent filming. I have never heard of media being asked for direct help in this way. Should media help police in this way? are we taking sides? Anybody that has covered news for a long time would of been faced with this dilemma.


I have known Greg for a long time and we used to work for rival networks in Australia. On many occasions we would be covering the same story either locally or overseas. Greg is a consummate professional and his years of experience will have helped him remain calm and perform his job in extreme circumstances. Greg managed to retain a the balance between covering the news and helping resolve the crisis.

It must have been a tough judgement call and Greg and Channel 7 did what they thought was right. As a news cameraman I believe it is important to not only cover an event but to also make sure you do your best to help out if needed. It’s not always about getting the pictures. Sometimes your direct help can help save lives.

On behalf of News cameramen and women everywhere I would like to praise Greg for the professionalism and humanity he showed under very tough circumstances.

Posted on December 16th, 2014 by Matthew Allard | Category: Journalism | Permalink | Comments (1)

Video review: Nexto’s NSB-25 Storage Bridge – a high end backup solution for road warriors

By technical editor Matt Allard:

The NSB-25 Storage Bridge is the latest backup solution from Korean maker Nexto. The company has been supplying professional portable backup solutions for some years now and several major television networks use their NVS range of devices.

The new NSB-25 memory card backup system can copy pretty much any common media on the market – SxS, XQD, REDMAG, AJA PACK, CFast, 2.5″ SSD, 2.5″ HDD, AXSM, Express P2, SD or CF cards. The NSB-25 has a nice 5-inch 800×400 touchscreen on which you can monitor backups and also playback HD and 2K material in a variety of formats. Although it can’t handle 4K playback it can still preview some 4K clips at reduced framerates.

The Storage Bridge accepts two internal HDD or SSD drives and a third drive can be added via USB 3.0 – this allows you to make up to 3 copies simultaneously. With one simple operation you can instantly be sure that you have multiple backups which can be archived or passed off to clients. As well as copying the data you can also choose to have it verified at the same time.

When you playback the footage it can also be fed via a HDMI port to a larger monitor for better previewing. Inside the NSB-25 is a 10000mA rechargeable Li-Poly battery which should give around three hours of operation. A mains adapter is also included.

The NSB-25 is a professional device and comes with the matching price tag. If you need failsafe backups in the field and don’t always want to carry a laptop then the NSB-25 is probably the smartest solution out there right now.

Pricing is set at:

NSB-25 (No memory module, no USB3.0 drive module) Main Device
- $2,200 / €1,650

NSB-25 with Sampler pack – includes two memory modules (except AXSM) that are user selectable plus two USB3.0 drive modules (not including internal disks) – $2,400 / €1,800

You can read more about the NSB-25 and other Nexto backup devices on their website.

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Posted on December 16th, 2014 by Matthew Allard | Category: Nexto | Permalink | Comments (0)

Emmanuel Pampuri posts ungraded 4K Varicam 35 test footage

Guest post by Emmanuel Pampuri:

Varicam S35 4K – 5000 ISO – ungraded footage from Emmanuel Pampuri on Vimeo.

I was a fan of the original Varicams a decade or so ago. Even with their 2/3 inch sensors they made great looking images. Recently I counted myself lucky to have the opportunity to spend few hours with the brand 4K Varicam S35 camera.

This camera has the unique feature of having two native ISOs. One optimised for shooting in brighter conditions, the other for low light. I was impatient to try the picture quality at the higher native setting of ISO 5000 which I had heard so much about. Check out this video to see how it works.

Turns out it is surprisingly good. There is of course some noise, but it looks like film grain and kinda sexy.

The new Varicam is a well balanced camera

The new Varicam is a well balanced camera

I was also very impressed by the electronic viewfinder quality, it’s the best I’ve ever seen. The camera is very well balanced. The shoulder mounting system is very good and you can adjust it to balance out whatever lens you choose. The pad slides a long way back and forth and there a standard 15mm rod mounting system for follow focus and matte box etc.

The main screen is detachable and you can put it wherever you want. This is a very good idea. If you are working alone you can leave it on the camera, but if you are working with a focus puller they can place it where they want. The other good idea is you can use the LCD to manage the settings of the camera as well as a monitor. Our assistant Myriam liked the screen ergonomics a lot.

I shot the test using 4:2:2 10 bits AVC Intra Codec recorded internally. The 4:4:4 12 bit option has not yet been enabled in the firmware, but even with this limitation picture quality is very good.

Trying out the Varicam

Trying out the Varicam

We shot during the evening. For the shots at the night market my DP Thomas Jacquet was forced to put a ND filter in to shoot at 5000 ISO – that’s just crazy but it works. The dual native ISO of the Varicam means that you are better using 5000 ISO rather than a lower setting like 3200 ISO. That’s because the gain is effectively reset to zero when you set 5000 ISO.

For now I am posting ungraded footage. I will be posting graded footage later with some feedback from my talented colorist. But I think we can already say the skin tones are beautiful and the dynamic is very good, even in 10 bits.


The firmware still isn’t totally finished and Panasonic will improve a lot of things very soon. The menus are still a little bit slow and some of the indicators on the LCD screen are a bit too small. Panasonic tell me that the first firmware upgrade will fix these.

Panasonic is coming very late in to the high end Digital Cinema camera race, but taking their time has mean’t they have a strong alternative to compete with the likes of the Red EPIC Dragon, Arri ALEXA, AMIRA and Sony F55. I’m looking forward to doing more tests with 4:4:4 12 bit codec soon – then we’ll see how good this camera can really get.

You can watch the footage in 4K on YouTube here.
To download a full 4K 422HQ ProRes File click here.

DP : Thomas Jacquet
Focus Puller / Assistant : Myriam Robin

Many thanks to Panasonic Broadcast France and Loca Images.

You can read Emmanuel’s thoughts on the 4K Varicam 35 in French here.

Posted on December 15th, 2014 by admin | Category: 4K, Panasonic Varicam | Permalink | Comments (0)

The 2014 Christmas gift guide

By Matt Allard and Dan Chung:

The entry level GoPro Hero is one our selections this year

The entry level GoPro Hero is one our selections this year

Christmas is almost here and at we’ve put together a list of presents that we would happily see under the tree this year. Even if your loved ones aren’t keen to buy these for you you can always treat yourself. All but one can be had for under $150:

Ray’s wooden balls
Kinogrip’s wooden handgrips have proved popular with shooters looking for a good grip and a retro feel to their rigs. Sadly these aren’t really at stocking filler prices, but for $89 craftsman Ray Thomas also makes a lovely KinoBall grip that sits on the other side of your rig and gives extra stability. It is carved out of your choice of wood and attaches via an ARRI style rosette to most brands of rig. If you don’t have an ARRI rosette adapter then there are several inexpensive ones online that work well with the KinoBall. You can find out more on the KinoGrip website.

The KinoBall grip

The KinoBall grip

Rycote covers
The Rycote overcovers, Undercovers and Stickies are a great addition to any audio kit. They are designed to conceal lapel microphones by attaching them to clothing or skin, and then covering them with a fuzzy pad. They are far more discreet than other fluffy mic covers. They also go a long way to avoiding wind and fabric noise, beating conventional foam covers found on regular lavalieres. So far we have found no better solution. More details on Rycote’s website.

LED lights have rapidly become normal for lighting interviews and although convenient they are pretty harsh when not diffused. Traditional soft boxes are available but they can be time consuming to attach and can be expensive. Enter the Airbox from inventor Tom Guiney. He had the genius idea of making inflatable soft boxes that create a large diffused light source but also pack down small in seconds. They come in various sizes for small and big LEDs up to 1×1 panel size. Prices start at a Santa friendly $30.

A 1x1 Airbox

A 1×1 Airbox

Make ugly into beautiful! Airbox Inflatable Softboxes for LED panels from Thomas Guiney on Vimeo.

Blackmagic Design Mini Recorder
Do you have a thunderbolt enabled Mac? Want to use it to input signals via SDI or HDMI? Then Blackmagic have a great little solution for you. Their UltraStudio Mini Recorder allows you to feed HD-SDI and HDMI signals from you camera directly into your Mac. You can then record or monitor the signal in your favourite editing software. Better still, when combined with Scopebox from Divergent media it can turn your Mac into a useful on set monitor with waveform, vectorscope and audio level meters.

The Blackmagic Design Mini recorder

The Blackmagic Design Mini recorder

GoPro’s budget Hero
GoPro’s Hero4 4K Black edition may be the camera catching all the headlines this year but the company also launched the ‘budget’ HD only GoPro Hero model at the same time. This is a stripped down version of popular action cam with higher resolutions, wi-fi control, ProTune and high frame rate options removed. Even so it is still capable of 1080 25/30P and 720 50/60P video capture and comes with the waterproof housing that the cameras are famous for. With a price tag of around $140 an extra GoPro is always a useful gift.

Nori Squarebounce reflector
The Nori Squarebounce is an essential piece of Matt’s kit. With all the fancy new lighting gear we frequently cover on the site it is worth remembering that in some situations all you need is a simple reflector to light your image. The Squarebounce is a new take on the traditional photographic umbrella. Instead of the regular umbrella shape it opens into a flat square reflector in a choice of gold, white, silver or black surface. Not only is it easier to hold than a conventional pop-up reflector it can also keep the rain off you in a shower. Find out more on their website.

The Nori Squarebounce umbrella

The Nori Squarebounce umbrella

Lastolite white balance perfection
Getting correct white balance is made much easier with this nifty device from Lastolite. The Lastolite Ezybalance uses the same pop-open design as their reflectors but has a 18% gray surface on one side and white on the other. It is more convenient to stuff into you camera bag than a traditional balance card and is more accurate than the old TV news trick of using a sheet of white paper which is likely to have a slight tinge of green, blue or yellow. The grey side is great when shooting flat picture profiles or log curves, where judging correct exposure can be difficult. Having an accurate way to do this on the go is invaluable.

Lastolite Ezybalance

Lastolite Ezybalance

Tiny Pelican cases
These small Pelican 1060 cases are great for wireless mics, lavalieres, GoPros and chargers. They come in several sizes and colours with some have clear lids too. We prefer the ones with clear lids so you can see what is inside in a hurry. They are fully immersible in water, crush proof and dust proof so you can rest safe in the knowledge that your gear is protected in the harshest environments.

The Pelican 1060 with clear top

The Pelican 1060 with clear top

Gruv gear V-Cart Solo
One on the main problems of being a one man band is it transporting all your gear around. When moving large amounts of lighting and kit a great option is the V-Cart Solo from Gruv Gear. A multi versatile cart with a weight capacity of 500LB (226KG) it transforms into three different configurations and folds up for easy storage. Because of its ultra tough construction you can pile all the equipment needed for most shoots on the one cart. This strength does have its downside – it weighs in at 25LB (11.3KG) so we wouldn’t recommend it for air travel. For more information go to the Gruv gear site.

GruvGear carts

Gruv gear carts

Redrockmicro cable organisation
Sometimes the simplest items are the most useful. Like most other shooters we were guilty of having a spaghetti like cable mess on our camera rigs. That is no longer the case – Redrockmicro have these great little microTie organizers that can hold up to three different cables securely to a 15mm rail. For more information go to the Redrockmicro store.

Redrocks cable organisation for 15mm rods

Redrocks cable organisation for 15mm rods

Convergent Design ultra thin SDI
SDI cables usually are made out of thick material which can get in the way, or be difficult to attach in a tightly set up camera system with external recorders and monitors. Luckly Convergent Design have made their own ultra thin SDI cables that are 36″ in length. These should be thin enough to snake their way into the most compact of rig builds. For more information go Convergent Design.

Thin SDI cables from Convergent Design

Thin SDI cables from Convergent Design

Atomos coiled cables
Are you worried that your recorder or monitor HDMI cable might snag and break? An Atomos coiled HDMI cable might be just the answer you are looking for. Developed in house their flexible coiled HDMI cables come in 30 and 50cm lengths and in various combinations of micro, mini and full sized HDMI. The cables stretch and then stay in place without pulling like traditional flexible cables.

Dont get your HDMI in a tangle

Dont get your HDMI in a tangle

Kessler quick release system
Getting your camera on and off your tripod, monopod, slider or jib quickly and securely is essential in news and documentary shooting. The Kessler Kwik system is the best solution I’ve found for smaller cameras right up to the C300 and Red Epic in size. A plate is attached to the bottom of the camera that snaps straight into the receiving Kessler Kwik release receiver. The receiver currently retails at $139.95 and Kessler make a range of compatible camera plates. Many other makers camera plates also work but its worth checking if your particular one is compatible if you are thinking about buying just the receiver.

Kesslers Kwik release system

Kesslers Kwik release system

Rigwheels magnetic mount
Perfect for GoPros, small LED lights and compact cameras the Rigwheels Rigmount Sport magnetic mount is a small ball head with a magnetic attachment system that can mount to a suitable metal surface instantly. It uses rare earth magnets to achieve its high holding power and is a great alternative to the a regular suction cup. Once attached to the surface it doesn’t lose its grip over time like a suction device. I use one of these routinely for GoPro car shots. Having a flat base means it can be used as a mini tripod too. $49 well spent.

Rigwheels innovative magnetic mount

Rigwheels innovative magnetic mount

Rode iPhone lav microphone
Rode’s tiny $79 smartLav+ is a great addition to any kit. It is a high quality lapel mic that attaches directly to your iPhone and some Android devices. Sound is recorded on your device and then synced later in post with your video. You can use it as an inexpensive replacement for a wireless mic system if you are a student, on a tight budget, or trying to keep a low profile. Pros may prefer to use it as a backup to their wireless systems, or in situations when you have multiple subjects to follow. The downside is that there is no easy way to monitor your recording levels on the iPhone when you have placed it on your subject – The smartLav+ is pretty much set and forget.

The sound quality is improved over the original smartLav and it works with the Rode REC app which turns your iOS device into a fully functioning audio recorder. It comes with a mic clip and windshield included. Given how small and easy to carry it is to carry around I keep mine with me at all times.

Polycarbonate PL lens caps by TLS Optics
Cine lens users will appreciate these lovely new rear lens caps for PL mount from TLS in the UK. They come in a range of bright colours and also clear – allowing you to rapidly identify which lens you want to use. There is also an airtight O-ring seal in the cap that keeps nasty dust and grit out of the rear of your lens. Unlike other PL lens caps I use these have a positive twist-on action and don’t fall off. I got a clear cap an NAB and would love to see a few more under my tree this year. Check them out on the TLS website.

TLS PL lens caps come in a range of colours

TLS PL lens caps come in a range of colours

G-technology G-Drives
One thing that you can never get enough of is disk space. G-technology make drives aimed at video professionals and offer fast transfer rates, top level construction and good looks. Their G-Drive EV and G-Drive mobiles are extremely popular with cameramen and editors on the go. Connection options include Thunderbolt, USB 3.0 and Firewire. A welcome gift under any videographers tree.

A G-Drive mobile with Thunderbolt

A G-Drive mobile with Thunderbolt

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Posted on December 12th, 2014 by Dan Chung | Category: Blackmagic design, Camera support systems, GoPro, hard drives | Permalink | Comments (0)

Convergent Design Announces The 7Q+ external recorder with 4K over HDMI

By Technical Editor Matthew Allard:

The new Odyssey 7Q+

The new Odyssey 7Q+

Convergent Design has today announced their new flagship monitor/recorder – the Odyssey7Q+. The big change to the older 7Q is that the new model has the ability to accept 4K/UHD video via HDMI and record it in Apple ProRes 422 (HQ). This is what many owners of Sony’s a7S and Panasonic’s GH4 have been requesting. It will supercede the Odyssey7Q, which is no longer being manufactured, and retail for $2295US. Convergent Design will still fully support the existing 7Q and more firmware updates are planned, but there will be no way to upgrade the 7Q to 7Q+ spec.

The 7Q+ features a HDMI 1.4b input and this will allow it to also accept 1080p60. The HDMI is limited to 8-bit 4:2:2, up to 1080p60, 30fps in UHD (3840×2160) and up to 24fps in 4K (4096×2160). This is good news for owners of cameras such as the Panasonic GH4, Sony a7S and Sony FS7 as well as any other camera capable of 4K/UHD output via HDMI. The 7Q+ retains all the existing functionality of the original 7Q. It has the exact same OLED 1280×800 screen with RGB waveform, RGB Histogram, False Color, Pixel Zoom and monitoring LUTs. The size, design and proprietary SSD drives remain the same and so all additional third party accessories that worked with the 7 and 7Q will work with the 7Q+. Convergent Design will begin accepting orders for the Odyssey7Q+ from today. Convergent Design expect to begin shipping the Odyssey7Q+ on or around December 19, 2014.

The surprise announcement from Convergent Design means that we will have two new 4K HDMI recorders on the market within a few weeks. The slightly delayed Atomos Shogun is supposed to ship at around the same time. This extra choice is great news for potential buyers who need to record 4K/UHD via HDMI.

Why a new recorder? At the time the Odyssey7Q was designed and developed the chip Convergent Design used was the most advanced available and cameras like the a7S and GH4 didn’t exist. Sadly the HDMI receiver chip on the original Odyssey7Q is not technically capable of anything greater than 1080p30/1080i60. The new Odyssey7Q+ has a newer, more advanced HDMI receiver chip which allows 4K @24P and UHD @30P into the Odyssey7Q+ over HDMI. Unfortunately this was not just a simple exchange of parts. Convergent Design had to redesign the recorder’s hardware and firmware, as well as some other fairly intricate work within the unit. On the outside the only real difference anyone will notice is that the locations of the HDMI input and output have been swapped and a new label added.

Odyssey 7Q+ features

Odyssey 7Q+ features

Convergent Design has no more 7Q units in stock. If you have just ordered a 7Q and it hasn’t shipped yet, you will be offered a 7Q+ at no additional cost. Please check with your local distributor or dealer for more details. If you have just bought a 7Q and were hoping for a firmware update to allow you to record 4K/UHD to your 7Q then this announcement may leave you feeling frustrated. Convergent Design isn’t offering any trade in deals on the 7Q. If you are an existing owner of an Odyssey7Q wishing to purchase an Odyssey7Q+ you can however participate in the Odyssey7Q Owner Loyalty Program. With the purchase on an Odyssey7Q+, Odyssey7Q owners will get a one year warranty extension on their Odyssey7Q, any purchased Record Options replicated on their Odyssey7Q+, and a $500 credit to their account on the Convergent Design website. More details on the Owner Loyalty Program are available from the Convergent Design website. The Odyssey7Q cannot be retrofitted or otherwise upgraded to become an Odyssey7Q+.

I think a lot of existing 7Q customers would have preferred to have been able to send their 7Q in for a hardware upgrade to get 4K/UHD, even if they had to pay for it. Having to buy a whole new monitor/recorder will certainly annoy some, even if they can sell their old 7Q for a healthy amount. That said many existing 7Q customers may have no need for recording 4K/UHD over HDMI, but even so having that added flexibility would have been nice.

Convergent Design is also releasing a new 1TB Odyssey SSD [CD-SSD-1TB, US list $1395]. This Odyssey SSD is compatible with the Odyssey7, Odyssey7Q and Odyssey7Q+ with the installation of the latest Odyssey firmware update, scheduled for release with the Odyssey7Q+. Please note that the 1TB SSD features a lower dollar/gig ratio than the smaller capacity SSDs ($1.36/G v. $1.55/G). The 1TB Odyssey SSD is available for immediate shipping.

As a 7Q owner I have been very impressed with the ease of use and continual improvement of the product. I would have liked to have seen my existing 7Q being able to record 4K/UHD over HDMI but I do realise it is a hardware limitation and not something that can be fixed via firmware. For people looking for an external recorder/monitor the 7Q+ certainly ticks a lot of boxes and may well be the most versatile unit currently on the market.

Posted on December 12th, 2014 by Matthew Allard | Category: 4K, External recorders, Monitors | Permalink | Comments (3)

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