Hyperdeck shuttle superwhite issues

I'm shooting f3 s-log material to a hyperdeck shuttle 2. I am finding that pro res and dnxhd clips are coming in to premiere and speedgrade with the superwhites clamped at 100ire. I have confirmed in resolve, FCP and apple color that the master clips are not clamped but in premiere I cannot get the clips to show full range.
I have tested DnxHD and prores formats from the hyperdeck, same results. I've tried both cs6 and CC, same result.
to reiterate, resolve shows full range, adobe apps are clamping it.
Any help appreciated

Hi Jim... Yes :-). Foolish. Lesson Learnt.
But if you look at the questions, I guess they are general to Camera + External Recording setup rather than a specific brand?

Similar Messages

AE CS 5.5 & Hyperdeck Shuttle DNxHD MOV files

AE CS5.5 (Win x64) will not read Avid DNxHD MOV files produced by the BlackMagic Design Hyperdeck Shuttle 2. All other software, including Bridge and Premiere Pro CS5.5 read the files fine. If I re-wrap the file with ffmbc and the only change is to reduce the 16 audio tracks (14 empty) to 2 or one, AE reads the file fine. PPro CS5 had a similar issue, which was fixed in the revision to CS5.5. See this thread from the Premiere Pro forum:
http://forums.adobe.com/message/3888889
AE and PPro CS5.5 have two different versions/file dates of the Quicktime importer file (ImporterQT.prm), so the issue may have just been missed with AE.

I also have a BMD Intensity Pro, so I already have all their codecs installed. The only BMD codec that the Hyperdeck Shuttle 2 software installs is a QT uncompressed codec, since the recorder is capable of producing uncompressed files also.
Here is a small Hyperdeck Shuttle DNxHD MOV file that someone posted and you can download it, if you want to check it out with AE. You will need to install the Avid codec package that is refrenced in my previous post. If nothing else, having the codec installed gives you a free intermediate codec (it will encode also) that is only lightly compressed (220 Mb/s), 4:2:2 and 10 bit.
In any case, the problem is specific to AE CS 5.5, since all other software works fine. Besides, AE CS5.5 will read DNxHD MOV files, just not those produced by the Hyperdeck Shuttle 2. I think I will file a bug report with Adobe. Thanks again.

GH2 and the BMD HyperDeck Shuttle Record Problems

Hello All :-)
I have a BMD HyperDeck Shuttle 2 and it records uncompressed and in the DNxHD (220) codec.
I can import, play and edit the files just fine, but there's a major problem that makes the files useless.
Static scenes are fine except they are flat and require color correction to make them aesthetically acceptable.
The main problem is that the files have horrible interlacing problems... and I'll explain.
First of all, it doesn't matter whether I shoot in FSH, HBR, 24p or don't hit the camera record button at all and just record from the cleaned display... the same problem occurs, so it isn't a camera setting (I've spent 2 days experimenting with different cam settings as well).
When panning I get fine interlacing lines. They are annoying and unacceptable in their own right, but it gets worst. Once encoded (as in for distribution) the problem is accentuated. Huge lines appear and and make the video look horrible... it is unusable.
On close inspection of the files in PP CS6 I can see that the file is filled with ghost images, which I thought were a result of duplicate frames that the GH2 has served to the BMD Shuttle 2.
I've read about certain fixes for this and a the color shift issues, but a) most sound too difficult to be used in a practical workflow and at the end of the day, they may not even work.
So I'm here with hat in hand hoping that a discussion might yield some fruit that can help me, and others that are having the same problem or looking to use a Shuttle with their GH2s.
Update...
I said that extra frames were being added, well I read that recording from the GH2's HDMI port added and deleted frames randomly, and that clouded my judgment and made me lean in that direction, but upon closer inspection (I was going to experiment with manually removing the extra frames) I found that there are no extra frames per-say.
The ghosting I described is at the heart of the problem.
When panning each frame appears to be a combination of 2 frames at different times. So depending on the speed of the pan (and the shutter speed - the higher the SS the closer together is the dual images) you get an interlaced image (half of the lines) at one point in time, and another (the other half of the lines) at a later point in time.
Where they overlap, the image is solid, but on either side you have a "ghost" image which when played back you can see through the image where the missing lines are, thereby giving a notched edge effect.
And I haven't even wrapped my head around how I can fix that yet??
Thanks for your interest and feedback!!
AM

Hello Guys,
AS far as the signal I don't know what to believe.
Panasonic says that the new HBR mode is 1080/30p, but various video reporting tools reads the files as 1080/60i when recrding to the internal card.
I was told that no matter what setting you had for record mode, the HDMI spits out 1080/60i, yet others have said that you can get it back to 24p by using a pull down... but how can you get it back if the HDMI port is just putting out a signal from the sensor at 1080i without regard of the recording mode??
Anyway I ran a test just before I had to leave for an appointment, so I didn't have time to beat it up yet, but the results look promising!
Here's what I did: I recorded to BMD Hyperdeck using it's built in DNXHD codec (doesn't matter what record mode) and in fact I never hit the camera's record button, I just took the raw signal comming out of the HDMI port.
Trust me, for this test I tried every setting and combination that I could think of and it didn't matter for this test what combination I used, the results were the same.
Then I conformed the video clip in my bin to Upper First. That seemed to fix the problem as long as I was in PP CS6, however upon export the problem still occured.
Then upon export I chose progressive in media encoder.
That combination seemed to fix the problem, although I'm working on a project and haven't had time to do anything but glance at the resulting H.264 output file yet.
I'll do further testing and report back.
If this works it will illiminate the need to run the files through yet another program.
AM

Canon C100 + HyperDeck Shuttle 2 + Adobe Workflow Question

Hello Everybody,
I recently purchased a Hyperdeck Shuttle 2 to pair with my Canon C100. The C100 outputs uncompressed footage thru HDMI. I shot a film recently and I recorded uncompressed 10 bit 4:2:2 Quicktime files thru the shuttle. I need some help with the best way to edit/grade this footage. I searched all over the internet and I found references only to the DNxHD MXF file format or ProRes file format that the shuttle can do. Nobody seems to be using/discussing the uncompressed Quicktime 10 bit 4:2:2 workflow.
Restrictions: Workflow has to be Adobe + Windows
The C100 sends the 24p signal in a 60i wrapper and as a result the footage shows up as 29.97 fps.
1. Removing Pull Down in Adobe After Effects?
What is the best way to do this? I can go to Adobe AE and Interpret footage. This is converting video from 29.97 to 23.976. Once this step is done:
A. Do I need to render it and use the rendered file for further steps (Edit/Grade)? The original file out of the shuttle2 shows up as Quicktime 10 Bit Uncompressed YUV 4:2:2, Trillions of Colors. Do I need to render back to the same format or should I render to Uncompressed Avi (Internet is full of issues with QT on Windows). When I try AVI, it offers only Millions of Colors and not Trillions of colors. Will there be a loss in Quality? If I render to uncompressed AVI the file size is almost same as the original. If I render back to the original format (Quicktime 10 Bit Uncompressed YUV 4:2:2, Trillions of Colors) the file size decreases by 10% - 15% making me believe that there is some sort of compression happening.
B. Do I just skip rendering and somehow send the footage over to Premiere for Editing, Speedgrade for grading and then output for delivery? This would mean sticking to the same file format that the shuttle captured. I am not even sure if this can be done.
2. Removing Pull Down in Adobe PPro?
Is there any way I can remove pulldown in Ppro without having to go to AE? I see the Interpret footage option in Ppro. Even after I do it, the file properties still show as 29.97 fps.
Also, what would be the correct preset option in Ppro? I see a Blackmagic Capture
Any help will be greatly appreciated. The reason why I want to stick to the least lossy format is because I have a few shots that are underexposed and a few that have an incorrect white balance

Hi Jim... Yes :-). Foolish. Lesson Learnt.
But if you look at the questions, I guess they are general to Camera + External Recording setup rather than a specific brand?

Shuttle component issue

I am using jdev 11.1.1.3.
i created a shuttle component.it is getting all the values and we can shuttle it also.
my problem is that when i select an item from combo box first value by default is coming like on right side and all others in left side.
i want all the values to be in the left side from beginning.
i wrote some code in the java bean .
private RichSelectManyShuttle shuttle1;
List selectedValues;
List allItems;
boolean selValChangeVal = false;
public void setSelectedValues(List selectedValues) {
if (selValChangeVal) {
try {
DCBindingContainer dcbindings =
(DCBindingContainer)BindingContext.getCurrent().getCurrentBindingsEntry();
DCIteratorBinding iterator =
dcbindings.findIteratorBinding("VwCompanyTypesVO1Iterator");
OperationBinding operationDelete =
dcbindings.getOperationBinding("Delete");
Row[] rowSet = iterator.getAllRowsInRange();
for (Row row : rowSet) {
Object DeletedRowsObj = row.getAttribute("TableId");
if (selectedValues == null && DeletedRowsObj != null) {
iterator.setCurrentRowWithKey(row.getKey().toStringFormat(true));
operationDelete.execute();
} else if (!selectedValues.contains(DeletedRowsObj)) {
iterator.setCurrentRowWithKey(row.getKey().toStringFormat(true));
operationDelete.execute();
} else {
selectedValues.remove(DeletedRowsObj);
// CommitChanges();
} catch (Exception e) {
// TODO: Add catch code
e.printStackTrace();
this.selectedValues = selectedValues;
public List getSelectedValues() {
// if (selectedValues == null) {
selectedValues = Adfutil.attributeListForIterator("VwCompanyTypesVO1Iterator",
"Id");
return selectedValues;
public void setAllItems(List allItems) {
this.allItems = allItems;
public List getAllItems() {
allItems =
Adfutil.selectItemsForIterator("CompaniesCompanyTypesVO2Iterator",
"VwCompanyTypesId","Companyname");
return allItems;
}

Hi Jay,
Can you please post your .jsff source code and methods looks fine to me.

Video camera for greenscreen work +

Hi. I'm going to be setting up an in-home studio for a weekly, 1 hour show (to be viewed on the internet, not sure if could ever get it onto public access stations but might like the option).
The studio will be 20' long by 16' wide (probably minus a carveout for a bathroom) - but will retain a 20' length for filming.
For noise control, planning to hang heavy black curtains on the sides and camera end, add some carpeting, and possibly some simple / inexpensive treatment on ceiling as well. Will either paint back wall green or get some chromakey material to shoot against. WIll have a desk with 1-4 people for the show, positioned 6-8 feet from the greenscreen, and the camera on the other end (roughly 12 feet away)
I'm trying to keep the cost as low as possible, but would like it to be a step up from my $200ish consumer camcorders (a JVC Everio and a Canon HV20), so I've been looking at some used Prosumer or Professional Video Cameras that would allow me to capture the 4:2:2 colorspace I want to do for improved Chroma Keys. (I have Adobe Master Suite CS6 and will be doing my work in After Effects and Premiere)
We have a Sony DSLR A200 which came with a couple of lenses, but don't have any additional lenses beyond that (or much camera experience - so all sugestions welcome).
Cameras I've considered include
Sony HVR-V1U which I can get locally for about $1000 or less; one just sold on Ebay for $800ish - I'm a bit reluctant to make that big of a purchase there, but might consider it if a well established seller / store - B&H suggested this camera didn't give you 'true' 4:2:2 colorspace via HDMI; Sony said it did give you the colorspace, what was lacking in these earlier models (or hmdi ports maybe) was ability to transmit full intensity data (for brightness)
Think I might need to buy an HDMI Capturing device to get the 4:2:2 signal - Atomos Ninja 2 runs just under $700, lets you record directly to Hard Drives so fairly inexpensive option for massive storage; Have also seen a variety of products from Blackmagic (Intensity Pro - and Hyperdeck Shuttle - ranging from $150ish-$350ish)
Canon XF100 is newer, seems to be a superior camera. Records onto generic Compact Flash cards (which could help limit expense and make for easy editing); and meets 'broadcast standards' of 50Mbps at full HD, and might not need external HDMI capture - saw these at B&H for between $2000 used, $2500 new; Currently listed for $2100 at 42nd Street Photo.com - which looks legitimate as best I can tell.
Heard BlackMagic Pocket Cinema Camera mentioned as well - much cheaper, roughly $1000 for new - but seemed like those might need a variety ofa dd o (dont know if compatible with my Sony lenses) - and require fast (expensive) SD cards
Would welcome any advice about good video camera for greenscreen work - along with any experience on the Atomos Ninja 2 or Blackmagic products retailed above (and any tidbits on setting up audio/video studio; will be recording some music in there as well)
Thanks

It's a trade-off ... which is to say, it's like Life in general, right?
That many people that close-in is gonna be awful tight. Two people, ok ... three pushing it ... four is gonna work you some. Getting talent any farther away from the background given the limited distance the camera can move is not likely, without getting too wide a view from the cam exposing off-screen areas.
As to the screen blending into the floor ... you can affix the front edge out from the wall such as to get a curved shape that can visually blend wall into floor, you need a good two-feet radius to pull it off though. And if someone steps back, um ... yea, screens and photog's background paper can easily get a fresh new hole in them.
The "cove" backdrop support is a common commercial photographers tool ... needs to have at least a two-foot radius to be able to blend it visually from floor into wall. Often made by cutting 1/4" ply into 4-foot squares, then drawing a circle on them with a 2-foot radius, cutting out with a jig saw ... resulting in four corner sections that will be used for building the cove itself. Each with that radius of a circle cut out of it. Screw some small wood blocks onto the straight sides, using these blocks to fasten the cove-form sections to the wall and floor, then maybe three blocks flush with the edges of the cove one in the middle of the arc, then equidistant each side from there. Measure from an inch or two off the cove form onto the floor up flush with the bend of the cove and an inch or two past the cove-form up the wall. Cut a strip of 1/4" ply or masonry board or whatnot (some short of thin bendable but tough sheet good) that fits this dimension, push them tight to the form and screw through the sheets into the woodblocks on the cove forms.
Then your screen material can just drap over it and you won't step through it. We built one for our studio, it's 12 foot wide, works great ... and put two layers of 1/4" ply over it, the first stopping just at the edge of the cove form, the other going past that another inche and a half or so.

This'll get a reaction!

Okay, I've got a Canon 550D. I'm thinking of buying a Black Magic Hyperdeck Shuttle, with a 60g SSD, to record uncompressed footage from the camera's HDMI output. This will only be for short scenes to which I want to apply green screen effects.
I'm told this will work fine. But I've also been told that I may need to install on my iMac a codec that will recognise the uncompressed footage that was recorded on the SSD.
So, my two questions are:
1. Is it correct that I'll need a special codec, and
2. Will my computer, with 16gb RAM, be able to edit such huge files in After Effects, or Final Cut Express, without having a nervous breakdown?
Thanks.

You shouldn't have any trouble with the codec if you have Final Cut Pro because I think it's ProRez. At any rate, Black Magic Design has always been great at supplying codecs. The problem you're going to have with the 550D/T2i is that the HDMI output from that camera includes the focus box (the little white square) and it doesn't output a full 1920 X 1080 image. You get cropping or black pixels all around the edge.
I own one of these cameras and it's one of the many frustrations that I have. Don't get me wrong, it's an amazing camera for the price, but it's not what you're looking for. The 60D is better because you at least have a little control over the audio, but as far as I know there is no Canon DSLR that sends clean live video out the HDMI cable. I believe the 7D will deliver clean picture but it is still cropped with gray bars top and bottom.
The HDMI signal is fully compliant HDMI compliant, the camera just doesn't have the hardware built in to send the entire HD video image to the screen. Instead of getting the 1080 HD footage the camera records internally you are getting an HDMI feed of the camera's LCD viewfinder. At least they stripped off the other overlays. The HDMI output is useful for focus and to check color, but it's not a very good substitute for the real HD video.
Here's an article about the problem. Before you pick a camera do a little research.

Deinterlacing BMD DNxHD footage

I am currently running 1080i footage through a BlackMagic ATEM Television Studio, and taking 1080i output into a BlackMagic HyperDeck Shuttle 2 via SDI, which is set to record to a Quicktime DNxHD format.
Unfortunately, if I edit this footage in Premiere Pro CS6 (using the mac version FWIW), I can not for the life of me get it to deinterlace.
I've tried setting the Field Options on each clip to "Always Deinterlace." I've tried exporting to explicitly progressive settings. I've checked the "Render at Maximum Quality" box when rendering.
If I run the raw footage directly through Handbrake and set to Deinterlace there, it comes out right. If I run the final Premiere Pro footage through Handbrake and set to Deinterlace, it comes out right. I just want to know why all of the settings in Premiere Pro designed to convert interlaced content to progressive content are failing to do their job.
Am I missing something?
Thanks for your help.

Step 1:
Export video to YouTube 1080p settings (or manual H.264 settings with 1080p output).
Step 2:
View video. Observe interlacing lines everywhere.
Step 3:
Turn on deinterlace filter in VLC. Interlacing lines disappear.
This would be one example of the non-deinterlaced output, which is pretty evident the minute you turn on 1080 streaming:
https://www.youtube.com/watch?v=uaWVvv40kaw
I suppose it's possible the Premiere is doing some deinterlacing, but doing a phenomenally poor job of it.

EOS 5D Mark III Firmware Update: Clean HDMI Output and AF Improvements Explained

Canon has released an important firmware upgrade for the EOS 5D Mark III that will undoubtedly benefit DSLR cinematographers and still shooters alike. The 1.2.1 update enables the camera to record clean, uncompressed digital video data (YCbCr 4:2:2 8 bit) with encoded time code over the HDMI output, while simultaneously displaying video on the rear LCD and recording internally to CF or SD cards. This adds an enormous amount of flexibility to what is already one of the world’s top DSLR camera choices.
For more information, visit: http://www.learn.usa.canon.com/resources/articles/2012/5d3_clean_hdmi_out.shtml

Hi,
I am using my 5D Mark III with the Black Magic HyperDeck Shuttle 2 and I can't figure out how to get the camera to trigger the deck to record automatically.
Any ideas? I thought I set all the menu settings correctly in camerra with the new firmware.
Thanks,
Mike

Will my comp be able to edit uncompressed quicktime footage?

I have an iMac 3.06 Ghz Core 2 Duo, i3 with 16GB RAM.
I'm thinking of buying a Black Magic Hyperdeck Shuttle with a 60GB SSD, so I can record uncompressed HD footage from my Canon HV40. I plan to copy the uncompressed QT file that will be created by the Shuttle, to my computer for insertion into After Effects, and to there apply effects.
My question is: will that computer be fast enough to handle such large files?
Thank you.

My computer specs are: G5 PowerPC, 2.0Ghz Dual core processor, 8 GB RAM, 256 MB Ati Radeon 9800 pro graphics card and Final Cut pro 6.0.6.
To be clear, your is a dual processor, not a dual core.
An image is an image. As long as you can get the photos from the camera to the computer, your software should work as it always does.
Now, are you really asking about RAW support, or some other format support?
http://support.apple.com/kb/DL1072
https://discussions.apple.com/thread/2628722?start=0&tstart=0
Will it be able to edit the footage if I converted it to Apple Prores (LP, HQ or standard)?
Video?
http://mviconverter.over-blog.com/article-convert-canon-eos-60d-full-hd-h-264-mo v-to-fcp-fcp-7-for-editing-on-mac-os-x-lion-100666095.html
It is highly probable that your G5 is a bit old, slow, and that the software a bit late to be fully compatible with the Canon.

EOS 5D Mark III Firmware Update

Free EOS 5D Mark III Firmware Update
The EOS 5D Mark III firmware update expands the EOS 5D Mark III’s performance and usability. The update gives you uncompressed HDMI output when shooting video and cross-type AF support at f/8.
To learn more and download the update, click here

Hi,
I am using my 5D Mark III with the Black Magic HyperDeck Shuttle 2 and I can't figure out how to get the camera to trigger the deck to record automatically.
Any ideas? I thought I set all the menu settings correctly in camerra with the new firmware.
Thanks,
Mike

HD-SDI data rate (uncompressed 10-bit 4:2:2)

I have a new BlackMagic HyperDeck Shuttle, the output file format is a MOV file that is uncompressed 1920 x 1080 10-bit 4:2:2. When I put this output clip into Premiere here is what the properties of the clip show.
What bothers me is the "Average Data Rate" of 90.8 MB/second. Is this what I should be seeing? I was under the impression that uncompressed HD 10-bit 4:2:2 required much higher.data rates something like 180 MB/second and thereby necessitating RAID arrays for Premiere.
Does anyone have uncompressed HD data to compare to my results? The data is complete as I did also record the regular AVCHD data and have both in a timeline

Frederic, Eric was my first consult and I did send him some benchmarks so here they are, they happen to sell the same Mushkin Callisto that I have.
But first let me tell you the convoluted trail. BM requires you to format the drive to HFS+. BlackMagic Disk Speed Test will not run on a PC unless it is a PC format. I did a secure erase to set the SSD to all zeros, then I formatted to HFS+ and found that their disk test gave me a BSD. Backing up I then formatted to NTFS and ran the BM DST test. Now their test never stops running and bounces all over the place on testing without any indication of what is really happening so what you see here is a probable best case screen grab. I also ran AS SSD Benchmark. I also tried running off my Intel ICH10R and my Areca 1880
I am to embarrassed to show the bad ones. I have never seen such large excursions, probably due to the unique nature of SSD's. I will say this above data was not influenced by cache which gave initial readings in the Gigabyte range as evident in the AS SSD Sequential test below.
If you believe this benchmark I of course do not have the write speed required but what one do you believe.

C100 out HDMI 1080 / 25 p ?

Is the Canon C100 records HDMI 1080p -25P on HyperDeck Shuttle 2
thank you

35mm1,
Video that is output from the EOS C100 via the HDMI port is as follows:
If this is a time sensitive-matter, additional support options are available at Contact Us.
Did this answer your question? Please click the Accept as Solution button so that others may find the answer as well.

EOS C300 & EOS C300PL Cinema EOS Camera Firmware Update

Effective Nov 14, 2013, Firmware Version 1.1.0.1.00 has been discontinued. Information regarding the discontinuation can be reviewed here.

Hi,
I am using my 5D Mark III with the Black Magic HyperDeck Shuttle 2 and I can't figure out how to get the camera to trigger the deck to record automatically.
Any ideas? I thought I set all the menu settings correctly in camerra with the new firmware.
Thanks,
Mike

Re: SHUTTLE ISSUE

Hi,
I have had a similar issue, the problem occurs on the left side of the shuttle. Its hard to replicate as it never occurs frequently. Here is a screenshot : http://postimg.org/image/erhc52n5v/
Thank you,
Chris

Mohammad,
CHeck whether the program RSNAST00 was running in background, I hope it should be.
Then check with what variant it is being running. You can get the variant through SM37 , enter RSNAST00 in the ABAP PROGRAM NAME field at the end of the screen.
Now select the job and go to log it will give you the variant.
Go to se38 and check the variant of the program RSNAST00 , there is a check box "Send again", This might have been selected. Remove this check box and save the variant.
This should solve your issue. If not please let me know .
Regards,
Ajai.

Hyperdeck shuttle superwhite issues

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