Convergent Design Gemini or Sound Devices PIX 240 ? ? ?

OK, it’s apples and oranges – or is it?  Gemini will do dual stream 4:4:4 uncompressed recordings enabling 3D L/R eye recording.   Both are 10-bit recorders, but the Pix 240 only does one stream and only at 4:2:2 color space, so what’s the issue here?  Well, it seems that lots of post production people are quite nervous about the amount of data that uncompressed footage will entail, and whether the tradeoff of these future huge data flows is worth it.  Count me in as nervous about this on the production side too.  Although I am thrilled about the possibility of a single device to record dual 3D data streams, I’m less than thrilled at the prospect of an overwhelming amount of data storage and transfer time that will be part of the equation.

I bring up the Sound Devices PIX 240 (for 2D work of course) because it can record 10-bit 4:2:2 using Prores and Avid DNX which are very efficient lossless codecs that do not put the hammerlock on your transfer time and storage requirements.

Here are some record time specs to consider;

Gemini 4:4:4 uncompressed DPX file
256GB – 21 minutes
512GB – 42 minutes

PIX 240 Prores 4:2:2
256GB – 4 hours

So it’s pick your poison time.  Either go blissfully into the night with a dump truck full of uncompressed data, or back off a little bit and carry it away in your pocket.  In the end, the guys in post will send the final orders down to the field troops, but I’m guessing that after a few bouts of excess data overhead, 4:2:2 will be pronounced as perfectly adequate for 90% of all camera original production.

Just my 2 cents worth.

FWIW, I’m on the Gemini waiting list anyway.







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