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 “The Samurai was purchased solely with the intention of recording to a high quality 4:2:2 codec on a more robust recording media (I lived in a constant fear and trepidation about shooting to a postage stamp-sized SD card).” Ninja Samurai “We purchased the Samurai in November 2011 and have used it for approximately 20 TV spots. Our shoots might involve close-up camera moves; pack shots, wide shots with talent and frequently chromakey scenes. We often have the need to shoot “plates” for FX and compositing purposes.” live broadcasts. The Nikon/Ninja rig looks so much better than any of the other camera crews we see - including ones with a brand new $12k Sony XDCAM.” “We use a Nikon D4 and a D800, both connected to a Ninja, as our main cams. A third Ninja records the final mix from the video/audio mixer and we send the final mix to a Teradek Bond for sideKick “Finally, a camera-mountable HD-SDI recorder that uses the postproduction codecs I edit with...that saves me time and money!” - Paul Tetreault, Possibilities A/V Cinedeck Images: Shooter Film Craig Howard - Matthew Cherry, Matthew Cherry Studios Michael Artsis, Artsis Media, www. Images: Atomos Ninja at Steiner Sports Live 1 to see an expansion of the existing GPS feature so that a GPS position overlay can be burnt into the image. I would also like to see the RX support the ARRI ‘Raw’ codec, which would allow it to work with the Alexa M camera for future projects.” Craig Howard, Shooter Film, www. “The Sony CineAlta F3 is a remarkable system, with its Super35 chip delivering cinema-quality results and full uncompressed output up to 4:4:4; however, its internal record speed is 35 Mb/s, which is inadequate for broadcast applications,” said Cherry. “Because the sideKick HD can record at speeds of 220 Mb/s, we’re able to bridge that gap while taking advantage of the camera and its high-end cinematography effects.” “The Ninja makes my workflow faster and better. It allows me to be more accurate, more precise and more creative. You now know exactly what you are getting and it’s ready to edit. It gives DSLR cameras the flexibility to become a true alternative to a video camcorder.” “We use a Cinedeck RX dual channel, solid-state recorder, supplied by Oxygen DCT, to deliver high quality digital aerial filming to clients in film, TV broadcast, commercials and corporate production. Our Cinedeck RX is recording uncompressed 4:4:4 from a gyro-stabilised Cineflex V14 HD camera, in a wide range of frame rates, recording variations of Apple ProRes, Avid DNxHD and Cineform codecs, according to our customers’ preferences. This allows us to mirror the industry trend towards tapeless capture, and to extract the full performance of our Cineflex camera system. As Cinedeck records to a range of codecs, clients can leave the shoot with edit-ready footage, which ultimately helps their production costs – and that’s a great selling point for us. In terms of future improvements, I would like Peter Jones, aerial cameraman and camera systems manager for PDG Helicopters. “We specialise in recording multicamera productions of performances from some of the UK’s top theatre and arts venues. Last year we bought a Cinedeck EX from Oxygen DCT because it is much easier to transport and set up than our Avid system. We also like its ability to record external timecode and the large number of recording formats it supports, including Avid DNxHD 10 Bit files, Quicktime Pro Res HQ and CineForm. It is very user friendly and its small size makes it ideal for OB trucks and for use with fly away kits. It also helps simplify workflow for High Definition productions that have been shot on high end cinema cameras and are not required for large screen projection. In the future I would like Cinedeck to be remote controllable so that we can plug in and record from a grading system.” Steve Eveleigh, Managing Director, Bestlight TV-BAY MAGAZINE | 41