Multicamera Asynchronous Switching for Shogun 7
By Adam Noyes
Live switch four camera angles and record them all,
plus the program output, while you shoot
The free AtomOS 10.4 firmware update for the Shogun 7 is now available. This adds our new asynchronous switching and quad ISO recording features to the class-leading 7” HDR monitor-recorder. Download AtomOS 10.4 now to transform your Shogun 7 into the most intuitive, portable, battery powered, all-in-one multi-camera monitor, recorder and switcher on the market.
Four camera channels/feeds can be simultaneously recorded as a separate ISOs in either Apple ProRes or Avid DNx to the same high performance SSD drive – ready to edit moments after the shoot has finished.
Choose to view the four camera angles at once in a quad-view, or a full-screen view of any one of the four input streams. Use the touch screen to accurately cut back and forth between up to four live HD SDI video streams at up to 1080p60. You can output this switched program feed via HDMI and/or SDI for streaming or broadcast, as well as recording it as a fifth channel on the same SSD.
All input switches are recorded in metadata with a choice of transition type. Once you’ve finished capturing your streams, simply import the resulting Apple Final Cut XML file along with your ISOs into your NLE and the timeline automatically populates with all the transitions in place.
The result provides creators with creative advantages and the convenience of having multiple, synchronized camera angles with transitions in place when they come to craft the story in the edit suite.
Gain a better understanding of how to setup for our new asynchronous switching feature in this short Shogun 7 setup video hosted by Jeromy Young.
Shogun 7 and ProRes RAW
bring cinematic edge to School Fight
How do you make a full length feature film, with flawless, cinematic values when your camera budget only stretches to the Sony FS7s already owned by the crew?
School Fight is a low budget, independent UK feature film, with a high-end look. Shot entirely with Sony FS7 cameras, the crew achieves an ambitious cinematic feel by recording in ProRes RAW with the Shogun 7 and Sony FS7 / XDCA-FS7 extension unit. As a result, postproduction received the ultimate combination of the creative flexibility of RAW but with manageable file sizes.
The benefits of the Shogun 7 were equally evident on set. As well as offering a much larger monitor than the FS7’s standard screen, the display – which can reach up to 3000nits peak brightness – gave the entire crew the ability to instantly review full quality footage on set. This was particularly crucial given the ambitious filming schedule for the film.