Setup Guide Odyssey FS700 5.10.100

: Convergent-Design Setup-Guide-Odyssey-Fs700-5.10.100 Setup-Guide-Odyssey-FS700-5.10.100 5.10.100 Docs

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Updated February 23, 2015 | Firmware Release v5.10.100

ProRes 422 (HQ)

ProRes 422

ProRes 422 (LT)

4K RAW up to 60p

4K RAW burst up to 120p

4K RAW to 4K Apple ProRes up to 30p

4K RAW to UHD Apple ProRes up to 30p

2K RAW up to 240p

4K RAW to 2K Apple ProRes up to 60p

4K RAW to HD Apple ProRes up to 60p

1080p video to Apple ProRes up to 60p

SONY FS700

Odyssey7Q

Odyssey7Q+

SETUP GUIDE

RECORDING CAPABILITIES

RECORD TIMES & FORMATS

The following are approximate maximum record time in minutes, based on recording two 512G SSDs

(1TB). Record times may vary slightly.

RAW RECORDING

Odyssey7Q and Odyssey7Q+ are capable of recording the RAW signal ouput from the FS7 or FS700

if the Sony FS Recording Option Upgrade license has been purchased through our website and the

license key has been entered in the unit.

The Sony FS700 Recording Option Upgrade is required for recording 4K, RAW and HFR

FRAMES PER SECOND

24 25 30 50 60 100 120 200 240

RAW

4K RAW 50 48 40 24* 20*

4K RAW (Burst) 155 Takes* 155 Takes*

2K RAW 200 192 160 96 80 48 40 24* 20*

* Two SSDs are required to capture

NOTE: When recording RAW, S-LOG2 Picture Prole must be used.

RAW FORMAT DETAILS

4K RAW 4096x2160, 12-bit linear data, recorded as Uncompressed .DNG

2K RAW 2048x1080, 12-bit linear data, recorded as Uncompressed .DNG

TYPICAL DOWNLOAD TIME IN MINUTES

Media USB3.0 Thunderbolt

256G SSD 20 10

512G SSD 40 20

1TB SSD 80 40

Actual transfer rates are dependent on computer system and capture media.

USB 3.0 or Thunderbolt connecons are recommended by Convergent Design for ecient data rates.

1

RECORDING CAPABILITIES

APPLE PRORES RECORDING

Odyssey now supports recording Apple ProRes 422 (HQ), Apple ProRes 422 and Apple ProRes 422 (LT).

Files are saved in .MOV format.

The Sony FS700 Recording Option Upgrade is required for recording 4K to Apple ProRes.

The Sony FS700 outputs 4K as a RAW signal, which is processed and coverted by Odyssey.

24 25 30 50 60 100 120

ProRes 422 (HQ)

4K to 4K ProRes 168 161 134

4K to UHD ProRes 194 186 155

4K to 2K ProRes 629 603 503 301 251

4K (Burst) to 2K ProRes 148 124

4K to HD ProRes 670 643 536 322 268

4K (Burst) to HD ProRes 156 132

HD ProRes 670 643 536 322 268

ProRes 422

4K to 4K ProRes 220 221 176

4K to UHD ProRes 264 252 212

4K to 2K ProRes 964 924 772 460 384

4K (Burst) to 2K ProRes 228 192

4K to HD ProRes 1060 1016 848 508 424

4K (Burst) to HD ProRes 252 212

HD ProRes 1060 1016 848 508 424

ProRes 422 (LT)

4K to 4K ProRes 168 161 134

4K to UHD ProRes 194 186 155

4K to 2K ProRes 629 603 503 301 251

4K (Burst) to 2K ProRes 316 264

4K to HD ProRes 1516 1456 1212 728 604

4K (Burst) to HD ProRes 364 300

HD ProRes 1516 1456 1212 728 604

FORMAT DETAILS

4K to 4K ProRes 4096x2160 10-bit log video, originated from 4K RAW 12-bit camera signal, transformed and

recorded as Apple ProRes compressed 4K video

4K to UHD ProRes

3840x2160 10-bit log video, originated from 4K RAW 12-bit camera signal, transformed and

recorded as Apple ProRes compressed UHD video. recorded as 3840x2160 center crop from the

RAW.

4K to 2K ProRes 2048x1080 10-bit log video, originated from 4K RAW 12-bit camera signal, transformed and

recorded as Apple ProRes compressed 2K video

4K to HD ProRes ** 1920x1080, 10-bit log video, originated from 4K RAW 12-bit camera signal, transformed and

recorded as Apple ProRes compressed HD video

HD DPX*

1920x1080, 12-bit log video, originated from HD 8-bit camera signal, recorded as Uncompressed

.DPX. HD DPX les at 60p are “packed” on SSDs due to high data rate. Use free CD Data

Unpacker ulity soware to unpack les aer transfer.

HD ProRes 1920x1080, 10-bit log video, originated from HD 8-bit camera signal, recorded as Apple ProRes

compressed HD video

** NOTE: In 4K RAW to 4K Apple ProRes and 4K RAW to HD Apple ProRes, picture proles SLOG-2, Rec709 and Rec709 800% are

supported.

2

CONTINUED »

FS700 CONFIGURATION

1. SET UP THE FS700 FOR RAW RECORDING

MENU » REC/OUT SET » REC SET » RAW SET

Select any of the following frames rates that you wish to record on the Odyssey:

NTSC

4096x2160/24p

4096x2160/30p

4096x2160/60p

2048x1080/24p

2048x1080/30p

2048x1080/60p

PAL

4096x2160/25p

4096x2160/50p

2048x1080/25p

2048x1080/50p

Once the selection is made you will need to press EXEC on the camera, to return to live

record.

2. SET GAMMA (REQUIRED FOR RAW RECORDING)

PICTURE PROFILE » PP7 » SETTING » GAMMA » S-Log2

PP7 is the default prole for S-Log2, Note that only S-Log2 is supported when recording

RAW.

Once the camera is set to the desired frame rate, then connect to the Odyssey.

3. SET THE S&Q BUTTON FOR RAW HIGH SPEED

MENU » OTHERS » RAW S&Q BUTTON SET » 4K/2K SUPER SLOW

(BACK) » REC Command » ON

NOTE: In 4K Super Slow the camera only outputs a maximum of 4K 60p, thus this mode

will use internal buffering, and then will need to playback the footage to an Odyssey. In 4

Super Slow, the Odyssey Trigger must be set to Camera.

MENU » RECORD » TRIGGER » CAMERA

NOTE: For 2K up to 240fps sustained, or 4K up to 60p sustained, but 4K 100/120 3-4

second burst.

4K/2K RAW RECORDING

3

4K/2K RAW RECORDING

4. SETUP FS700 HIGH FRAME RATE

MENU » CAMERA SET » SLOW AND QUICK » RAW 2K SUPER SLOW » EXECUTE

Select your desired frame rate*:

NTSC 120

240

PAL 100

200

TIME SAVER TIP: A quicker way of doing this is once the S&Q is set to RAW HIGH

SPEED, you can press and hold the S&Q button, then once the RAW Super Slow frame

is highlighted, you can now switch from 120 to 240. (or 100 to 200 in record.)

ACCESS HIGH FRAME RATES

Press the S&Q button » Select 120fps or 240fps

The Odyssey also has the ability of recording the buffered 4K 100/120 p from the

FS700. If you wish to record this set the camera to 4K RAW, and enable S&Q. Then the

Odyssey will record 4K100/120, for up to a 4 second burst.

4K 100/120 burst is now supported in 4K to 2K/HD ProRes.

RAW 4K SUPER SLOW 120FPS AND 100 FPS

Start Trigger - > 440 Frames

End Trigger -> 440 Frames

End Half Trigger -> 220 Frames

Start Trigger Processes 440 frames from when RECord button is pressed.

End Trigger Sends a buffer of the 440 frames prior to hitting the REC button.

End Half Trigger sends a buffer of the 220 frames prior to hitting the REC button.

120fps is 3.7 seconds record time - (440 frames) - 60fps playback

100fps is 4.4 seconds - (440 frames) - 50fps playback

5. PAL: 25P, 50P, 100P AND 200P

MENU » OTHERS » 60i/50i SEL » YES

6. SETUP RECORD TRIGGER (FS700 REC BUTTON)

MENU » REC/OUT SET » VIDEO OUT » SDI/HDMI CONTROL » ON

7. DUAL RECORD: FS700 INTERNAL + ODYSSEY

MENU » REC/OUT SET » RAW REC CONTROL » RAW+HD

(BACK) » REC/OUT SET » HD SIMULTANEOUS REC » ON

Note: The clip name from the FS700 is not sent over the SDI to the Odyssey, thus if you

wish to use the internal media as an ofine, you will need to rename the internal media to

match the RAW les.

4

CONTINUED »

ODYSSEY RAW RECORDING

ODYSSEY CONFIGURATION

1. SET ODYSSEY TO FS700 MODE

☼

» SETUP » CAMERA » SONY FS7/FS700 » FS RAW-->RAW (.DNG)

The unit will restart

NOTE

When selected for the rst time (or after an update) it may take up to 3 minutes to load.

2. SET DATE & TIME TO MATCH FS700

☼

» ODYSSEY » SET » TIME

ODYSSEY

ACTIVATION

TIME 07:30:11

▲

▼

OK X

DATE

RESET

SSD’S

ABOUT

SETUP OUTPUTS

☼

» ODYSSEY » SET » DATE

ODYSSEY

ACTIVATION

TIME

2015 FEB 23

▲

▼

OK X

DATE

RESET

SSD’S

ABOUT

SETUP OUTPUTS

3. MAKE FS700 THE RECORD TRIGGER

☼

» SETUP » RECORD TRIGGER » CAMERA

4. SET TIMECODE SOURCE

☼

» SETUP » TIMECODE SOURCE » SDI/HDMI

5

CONTINUED »

ODYSSEY RAW RECORDING

5. FORMAT SSDs

☼

» ODYSSEY » SSD’S » FORMAT BOTH (OR FORMAT SSD1 IF YOU DO NOT HAVE

A SECOND SSD DRIVE INSTALLED.)

6. CONNECT TO CAMERA AND VERIFY STATUS INPUT

Connect FS700 3G-SDI output to Odyssey SDIA input

Note: Use only 3G-SDI rated cables from FS700 to Odyssey. Using a 1.5G SDI cable in

not recommended and may cause issues.

The status on your Odyssey will display your camera’s output.

Example: 4K 29.97 FS700

RAW

NOTE

The recorded le will be RAW (.DNG) 2K or 4K. 2K up to 240fps, 4K up to 60fps (sustained)

and 4K 100/120 (3-4 second bursts).

6

RECORDING ACROSS TWO SSDS

SSD1 SSD2

1, 3, 5, 7… 0, 2, 4, 6…

4K 23.98p to 30p rates = Single Drive

2K 23.98p to 120p rates = Single Drive

4K 50/59p = RAID (two drives)

2K 200/240p = RAID (two drives)

RAID is set up automatically upon detecting the input signal - no setup is required.

NOTE

You can use any Convergent Design media; they need not be matching (ie, one 256GB

card and one 512GB card).

SSD RAID CONFIGURATION

7

FS700 CONFIGURATION

1. SET UP THE FS700 FOR 4K TO 4K/UHD/2K/HD RECORDING

MENU » REC/OUT SET » REC SET » RAW SET

Select any of the following frames rates that you wish to record on the Odyssey:

NTSC

4096x2096/24p

4096x2096/30p

4096x2096/60p*

PAL 4096x2160/25p

4096x2160/50p*

*4K to 2K/HD Only

Once the selection is made you will need to press EXEC on the camera, to return to live

/ record.

2. SETUP RECORD TRIGGER (FS700 REC BUTTON)

MENU » REC/OUT SET » VIDEO OUT » SDI/HDMI COMMAND » ON

3. SET GAMMA (REQUIRED FOR 4K/UHD/2K/HD RECORDING)

PICTURE PROFILE » PP7 » SETTING » GAMMA » S-LOG2

NOTES:

• Picture Proles S-Log2, Rec709, Rec709 800% are all supported in this mode.*

• Custom Proles or adjustments to the factory S-LOG2, Rec709, Rec709 800% are not

supported at this time.

• Be sure to set the white balance correctly before shooting. Also note that if you wish to

trigger the Odyssey via the camera’s record trigger please set the following on the FS700

• With 4K to 4K/HD what you see on the monitor is what will be recorded.

• Adjusting settings within each picture prole will not be reected in the recording since

the Odyssey can only detect which prole is set, not the individual attributes.

4. CONNECT FS700 TO THE ODYSSEY

Connect FS700 3G-SDI output to the Odyssey SDIA input

NOTE:

Use only 3G-SDI rated cables from FS700 to Odyssey. Using a 1.5G SDI cable in not

recommended and may cause issues.

4K RAW TO 4K/UHD/2K/HD PRORES

8

ODYSSEY CONFIGURATION

1. SET MODE TO 4K RAW TO APPLE PRORES

HD RECORDING

☼

» SETUP » CAMERA » SONY FS7/FS700 » 4K RAW ->HD PRORES

2K RECORDING

☼

» SETUP » CAMERA » SONY FS7/FS700 » 4K RAW ->2K PRORES

UHD RECORDING

☼

» SETUP » CAMERA » SONY FS7/FS700 » 4K RAW ->UHD PRORES

4K RECORDING

☼

» SETUP » CAMERA » SONY FS7/FS700 » 4K RAW ->4K PRORES

2. MAKE FS700 THE RECORD TRIGGER

☼

» SETUP » RECORD TRIGGER » CAMERA

3. SET TIMECODE SOURCE

☼

» SETUP » TIMECODE SOURCE » SDI/HDMI

4. SET PRORES BITRATE

☼

» SETUP » VIDEO CODEC » (SELECT)

PRORES HQ The Apple ProRes 422 (HQ) codec oers the utmost possible quality for 4:2:2 or 4:2:0 sources

(without an alpha channel) and provides the following:

• Target data rate of approximately 220 Mbps (1920 x 1080 at 60i)

• Higher quality than Apple ProRes 422

PRORES 422 The Apple ProRes 422 codec provides the following:

• Target data rate of approximately 145 Mbps (1920 x 1080 at 60i)

• Higher quality than Apple ProRes 422 (LT)

PRORES LT The Apple ProRes 422 (LT) codec provides the following:

• Roughly 70 percent of the data rate of Apple ProRes 422 (smaller le sizes than ProRes 422)

• Higher quality than Apple ProRes 422 (Proxy)

4K RAW TO APPLE PRORES

CONTINUED »

9

4K RAW TO APPLE PRORES

5. FORMAT SSDs

☼

» ODYSSEY » SSD’S » FORMAT BOTH

(or FORMAT SSD1 if you do not have a second SSD drive installed.)

6. CONNECT TO CAMERA AND VERIFY STATUS INPUT

Connect FS700 3G-SDI output to Odyssey SDIA input

NOTE

Use only 3G-SDI rated cables from FS700 to Odyssey. Using a 1.5G SDI cable in not

recommended and may cause issues.

The status on your Odyssey will display your camera’s output.

Example:

4K 29.97 FS700

4K->UHD

or FS700

4K->HD

10

CONTINUED »

FS700 422 TO Apple ProRes

FS700 CONFIGURATION

1. SET UP THE FS700 FOR RECORDING

MENU » REC/OUT SET » REC SET » HD

Select any of the following frames rates that you wish to record on the Odyssey:

NTSC

1080/24p

1080/30p

1080/60p

PAL 1080/25p

1080/50p

NOTE

1080/100p, 1080/120p are not supported.

2. SET UP RECORD TRIGGER (FS700 REC BUTTON)

MENU » REC/OUT SET » VIDEO OUT » SDI/HDMI COMMAND » ON

3. SET UP FS700 OUTPUT RESOLUTION

MENU » REC/OUT SET » VIDEO OUT » SDI/HDMI/COMPONENT » 1080P/480P

4. SET UP FS700 OUTPUT FRAME RATE

MENU » REC/OUT SET » VIDEO OUT » 24/30P OUTPUT » 24P/30P

11

FS700 422 TO APPLE PRORES

ODYSSEY CONFIGURATION

1. SET ODYSSEY TO HD->HD APPLE PRORES 422 MODE

☼

» SETUP » CAMERA » SONY FS7/FS700 » HD->HD PRORES(.MOV)

2. MAKE FS700 THE RECORD TRIGGER

☼

» SETUP » RECORD TRIGGER » CAMERA

3. SET TIMECODE SOURCE

☼

» SETUP » TIMECODE SOURCE » SDI/HDMI

4. SET PRORES BITRATE

☼

» SETUP » VIDEO CODEC » (SELECT)

PRORES HQ The Apple ProRes 422 (HQ) codec oers the utmost possible quality for 4:2:2 or 4:2:0 sources

(without an alpha channel) and provides the following:

• Target data rate of approximately 220 Mbps (1920 x 1080 at 60i)

• Higher quality than Apple ProRes 422

PRORES 422 The Apple ProRes 422 codec provides the following:

• Target data rate of approximately 145 Mbps (1920 x 1080 at 60i)

• Higher quality than Apple ProRes 422 (LT)

PRORES LT The Apple ProRes 422 (LT) codec provides the following:

• Roughly 70 percent of the data rate of Apple ProRes 422 (smaller le sizes than ProRes 422)

• Higher quality than Apple ProRes 422 (Proxy)

5. FORMAT SSDs

☼

» ODYSSEY » SSD’S » FORMAT BOTH

(or FORMAT SSD1 if you do not have a second SSD drive installed.)

6. CONNECT TO CAMERA AND VERIFY STATUS INPUT

Connect FS700 3G-SDI output to Odyssey SDIA input

SDI CABLES

Use only 3G-SDI rated cables from FS700 to Odyssey. Using a 1.5G SDI cable in not

recommended and may cause issues.

The status on your Odyssey will display your camera’s output.

Example:

1920x1080

29.97

HD

PRORES

12

CONTINUED »

FS700 CONFIGURATION

1. SET UP THE FS700 FOR RECORDING

MENU » REC/OUT SET » REC SET » HD

Select any of the following frames rates that you wish to record on the Odyssey:

NTSC

1080/24p

1080/30p

1080/60p

PAL 1080/25p

1080/50p

Note: 1080/100p, 1080/120p are not supported.

2. SET UP RECORD TRIGGER (FS700 REC BUTTON)

MENU » REC/OUT SET » VIDEO OUT » SDI/HDMI COMMAND » ON

3. SET UP FS700 OUTPUT RESOLUTION

MENU » REC/OUT SET » VIDEO OUT » SDI/HDMI/COMPONENT » 1080p/480p

4. SET UP FS700 OUTPUT FRAME RATE

MENU » REC/OUT SET » VIDEO OUT » 24/30p Output » 24p/30p

RECORDING TO UNCOMPRESSED DPX

13

CONTINUED »

RECORDING TO UNCOMPRESSED DPX

ODYSSEY CONFIGURATION

1. SET ODYSSEY TO FS700 TO UNCOMPRESSED DPX MODE

☼

» SETUP » CAMERA --> SONY FS7/FS700 » HD->4:4:4 (.DPX)

Click OK - The unit will restart.

2. MAKE FS700 THE RECORD TRIGGER

☼

» SETUP » RECORD TRIGGER » CAMERA

3. SET TIMECODE SOURCE

☼

» SETUP » TIMECODE SOURCE » SDI/HDMI

4. FORMAT SSDs

☼

» ODYSSEY » SSD’S » FORMAT BOTH

(or FORMAT SSD1 if you do not have a second SSD drive installed.)

5. CONNECT TO CAMERA AND VERIFY STATUS INPUT

Connect FS700 3G-SDI output to Odyssey SDIA input

SDI CABLES

Use only 3G-SDI rated cables from FS700 to Odyssey. Using a 1.5G SDI cable in not

recommended and may cause issues.

The status on your Odyssey will display your camera’s output.

Example:

1920x1080

29.97

DPX

4:4:4

14

CONTINUED »

OFF-LOADING DATA

COPYING FILES TO YOUR COMPUTER

1. CONNECT SSD DRIVE TO ADAPTER

Connect the Convergent Design 2.5” Premium SSD Media to any off-the-shelf 2.5” SATA

adaptor (example: Seagate GoFlex Thunderbolt Adaptor or USB 3.0 Adaptor)

2. CONNECT ADAPTER TO COMPUTER

The SSD will mount within 10-20 Seconds. (You will see this mount on the desktop or

within nder on MAC, or within My Computer on Windows machines).

3. COPY FILES FOR PLAYBACK/EDITING

All Clips or Takes are located within the “Clips” directory, navigate to this and copy all of

your les to a local or external drive or RAID for playback and/or editing.

SOFTWARE UTILITIES (FREE DOWNLOAD FROM WEBSITE)

CD CLIP MERGER (RAW/DPX)

Use the Clip Merger for any Raided Record (ie if your recorded clip required more than

one SSD).

CD APPLE PRORESS TRANSFER TOOL (FREE DOWNLOAD FROM WEBSITE)

Use to combine clips into a single le

Use to copy all les to a single directory without folder structure.

Required in order to transfer markers to your NLE.

CD DATA UNPACKER (DPX)

Use CD Data Unpacker to convert “packed” les to “unpacked” data.

ALL UTILITIES CAN BE DOWNLOADED FROM THE FIRMWARE/DOWNLOADS

AREA OF OUR WEBSITE: Convergent-Design.com/support/rmware-downloads.html

ATTENTION MAC OSX USERS

Before installing Convergent Design Software on Mac OSX You must rst change the

following settings.

1) Navigate to Applications » Utilities » System Preferences

2) Select Security and privacy

3) Under General » Allow applications downloaded from: Select Anywhere.

You will now be able to run the installer for installing any Convergent Design Applications.

15

CONTINUED »

Apple ProRes

The Odyssey can record in Apple ProRes 422 (HQ), Apple ProRes 422 and Apple ProRes 422 (LT)

compressed codecs. This allows for high quality recording while avoiding high data rates of working with

uncompressed video.

NATIVE APPLE PRORES SUPPORT

Adobe CC 2014

Apple FCP X, Aperture

Cineform Studio

Final Cut Pro 7

Black Magic DaVinci Resolve

The Foundry Nuke

Autodesk Smoke

Sony Vegas

FS700 RAW SUPPORT (DNG SEQUENCES)

All FS700 RAW recording on the Odyssey is recorded as a 12-bit linear CinemaDNG le. With DNG les,

timecode and clip metadata is stored in every frame, as well as in the XML le within each clip. All audio

is recorded 48Hz 16 bit Uncompressed WAV audio.

It is important to correctly set the white balance of the camera, as this is baked into the RAW

le.

NATIVE CINEMADNG SUPPORT

Adobe CC 2014*

Apple FCP X, Aperture

Assimilate Scratch Lab (future update)

Black Magic DaVinci Resolve

*Pending next Adobe CC update.

FS700 RAW: DEALING WITH RAW FILES

Note that FS700 RAW les are Linear, thus the les need a Gamma 2.2 correction in order to look correct.

You may notice when you rst import your les that they appear very dark before correction.

FS700 DAVINCI RESOLVE IMPORT SETTINGS

1. Right click on the le and select “Edit CinemaDNG Codec Settings”

2. Then under the CAMERA RAW select be sure CinemaDNG is selected from the drop

down menu.

3. Set the Decode using method to CinemaDNG Default* (Also be sure your project is

setup correctly)

4. Set the White Balance to As Shot

5. Set the Color Space to Rec709

6. Set the Gamma to Rec709

7. Leave Highlight Recovery off

8. Click Apply

The Media Pool Camera RAW settings are the same as the ones in the color page and these are designed

for individual clip adjustment so its better to rst set the ‘Project Settings’, ‘Camera RAW’ as you need for

the whole project.

Select ‘Project Settings’, ‘Camera RAW’, ‘CinemaDNG’ and make sure the ‘Decode using’ is set to either

‘CinemaDNG Default’ or “Camera Metadata’

POST PRODUCTION

16

CONTINUED »

POST PRODUCTION

The “Camera Metadata’ is the default and the best place to start if you need to change an individual clip

with camera RAW.

The Media Pool settings are helpful if you have a mix of different clip types, you can sort by codec, select

a group and adjust.

For your convenience, Convergent Design has generated several example LUTs that can be applied to

your RAW footage. Keep in mind these LUTs are an approximation, and may need adjustment depending

on your application.

These LUTs are available in the Firmware/Downloads section of the Convergent Design website.

*Also note that using camera metadata or CinemaDNG default is also supported.

TO LOAD 3D LUTS INTO DAVINCI RESOLVE

1. Select the Project Settings wheel, and navigate to Look Up Tables

2. Select Open LUT Folder, and copy the included example LUTs into this folder.

3. Now Select Update Lists

4. Now in the Media Browser you can right click on your RAW le and select 3D LUT and

select the LUT you wish to apply from the list.

Note the following about each CD example LUT, and you should adjust the LUT based on your

application.

FS700_1.11.100_SLOG.cube (Same LUT is recommended with firmware v2.10.141/3.10.100)

This LUT can be applied to view a simulated S-Log2 look based on the RAW recording with the S-Log2

picture prole, also note the image should closely match the internal media.

FS700 FCP X IMPORT SETTINGS

Once you have created a new project be sure to check the following Settings:

1. Under Final Cut Pro select Preferences

2. Be sure the Still Images editing duration is set to 0.0.1 Seconds

3. Select navigate to File and select Import Media

4. Navigate to the Clips directory, and select the Clip Folder contain your FS700 RAW les.

5. At this point you can start correcting the les to a 2.2 Gamma using the Color Board.

* Note if you are recording the internal media you can import the matching S-Log2 le, and

select Match Color for a close approximation of S-Log2, but will most likely need additional

tweaking.

17

POST PRODUCTION

WORKING WITH RECORDED FILES

There are numerous post systems and NLEs that can read natively the various le formats recorded by

the Odyssey. Some NLEs may require plug-ins in order to read certain le formats. Blackmagic Design

Resolve software is available for free and can read all formats recorded by the Odyssey.

FILE STRUCTURE

UNCOMPRESSED SUPPORT (DPX SEQUENCE)

All Uncompressed recording on the Odyssey is recorded as 10 bit RGB 4:4:4 DPX, this is for all sources

regardless if the source is 8 bit, 10 bit, 4:2:2, 4:4:4. With 12 bit camera’s the les are recorded as a 16 bit

DPX, for more universal compatibility. Also note that with DPX les timecode, and Clip Metadata is stored

in every frame, as well as in the XML le within each clip. All audio is recorded 48Hz 16 bit Uncompressed

WAV audio.

Also Note 1080p59.94/60p, 1080p119/120 and 12 bit les are recorded as Packed, so our CD unpacker

utility will need to be used before the les can be used in any editor.

NATIVE 10-BIT / 16-BIT DPX SUPPORT

Adobe CS6 / Adobe CSCC/2014

Apple Color

AutoDesk Smoke

Assimilate Scratch Lab

Avid DS

Black Magic DaVinci Resolve

Cineform Studio

ColorFront OnSet Dailies

DJViewer

Eyeon Fusion

Grass Valley Eduis (Does not support 16-Bit)

The Foundry Nuke

Xnview(Does not support 16-Bit)

PLUGINS FOR DPX SUPPORT

Glue Tools

Apple FCP Pro

Apple FCP Pro X

Meta Fuse

Avid Media Composer

☎ ++(720)221-3861

✉ CDSupport@convergent-design.com

☁ Convergent-Design.com

© 2015 Convergent Design, Inc. - All Rights Reserved. All copyrights and trademarks remain the property of their respective owners. Updated February 23, 2015