To celebrate that fact that we have a stash of Convergent Design Odyssey 7Q+s available for just £1199 ex VAT, we’re relaying the tale of heroic filmmaker Jim Arthurs, who set out to discover how many Odysseys one man could use on a single shoot. This Herculean labour was originally documented on Convergent Design’s site.
Filmmaker Jim Arthurs had a dream: just how many Odysseys could he put to work on a single shoot? He came up with the concept for ‘Assignment: Odyssey’ as a visual demonstration of the versatility of the Odyssey7Q+ monitor/recorder. Eight unique and popular cameras systems (each with Odyssey7Q+s) ranging from inexpensive 4K mirrorless cameras up through high end systems such as the Sony F55 and ARRI ALEXA were deployed on a Convergent Design themed virtual set green screen shoot.
Throughout the day, each camera was chosen for its particular strengths or features, while the Odyssey7Q+ was used to ‘common capture’ to UHD Apple ProRes or a given camera’s unique RAW data stream.
“Here was the opportunity to do what few in our industry have the chance to do,” explained Arthurs. “Custom select a wide range of cameras for a single job, based on their individual strengths, without the concern of handling multiple brands of recording devices and the resulting hassle in post.”
From the portability and fluid motion of the tiny Sony A7s used gimbal-mounted (both hand-held and on a jib), to the low noise characteristics of the Sony F55 for green screen work, to the 120fps in 4K RAW Burst mode of the Sony FS-700 and the unique Canon C500 colour science and smooth continuous 60fps RAW recording, each camera was chosen to overcome a particular production ‘challenge.’ The Odyssey7Q+ UHD to HD Supersampling was demonstrated with the Panasonic GH4.
“The Odyssey7Q+ was the great equaliser,” noted Arthurs, “Allowing green screen shots from both the high and low end of the Sony line – the F55 and the A7s – to intercut back to back in the final product. Every camera has a unique look, but the richness of signal captured by the Odyssey7Q+ in both RAW and Apple ProRes allow me to easily color correct and match the cameras with great results. And I easily pulled great green screen composites off even the most modest of camera kits with the robust signals recorded on the Odyssey7Q+.”