![]() The following SSD’s are recommended for 2160p ProRes 422 HQ up to 60 fps. ![]() The following SSD’s are recommended for 4.6K ProRes 444XQ up to 30p. The following SSDs are recommended for 4.6K Lossless RAW up to 30p. I bought this SSD because I couldn't find a list of approved ones for the SSD recorder on ursa mini pro (only for BMCC and PC4K) On my disk utility on my mac the ssd shows but will not mount and there is nothing I can do. I continued the day on SD cards and it went well, but now that I'm back home I can't read the disk. It was not that much, but it was not going to happen again, so I really not wanted to format the disk for the rest of the day. The SSD was no longer recognised and I was asked to format it -loosing the footage I've just shot. I start again, and after a few seconds it stops again and the camera shows "format". So I bought a Samsung 850evo 250Gb SSD, and started shooting the next morning.Įverything went fine and I shot around 10' of footage (in Prores 422 HQ, having formatted the SSD in ExFat), and suddenly the recording stops. The day just after, I had a shoot to do, and didn't have any time to do a lot of testing, had to shoot early in the morning. I'd say there should be hardly a difference between lossless and 3:1 and a mild difference in the shadows noise structure of 4:1.Just bought an Ursa Mini Pro with SSD recorder. Lossy compression will most likely change the look of noise/grain. Higher compressions like 3:1 or 4:1 use lossy compression after using lossless compression first. With lossless compression you can expect a ratio of 1.2:1 to 1.6:1 or on the average 1.3:1 It is like ZIP or RAR, no data is lost, just better sorted and optimized. Lossless RAW can only achieve mild compression because of entropy - worst case for lossless compression would be totally random noise, best case every pixel has the same value. It does not make sense to use completely uncompressed RAW - that is just a waste of bandwidth and space. The URSA Mini cameras always use at least lossless compressed RAW. The latter might be much lower, especially when the cards/SSDs get fuller. Note B): Do not mix up cards/SSDs maximum write speed with sustained write speed. Note A): All other RAW resultions are from a cropped sensor (windowed). Lossless (like ZIP) compressed RAW 30fps ~ 394.3 MB/s (compressibility depends on footage content) The maximum framerate for full sensor RAW 4608 x 2592 is 60fps ~ 788.6 MB/s - that does not go well with SATA-3s speed. The practical write transfer speed ceiling for all SSDs seems to be around 540 MB/s. Because taking 8b/10b encoding into account, the maximum uncoded transfer rate is 4.8 Gbit/s (600 MB/s). The problem is that the SATA-3 standard of those SSDs has a theoretical limit of 6 Gbit/s which is 768 MB/s. If I buy an SSD that is faster than the SSD recommended on your site, can it hold 4.6K RAW 60P?Īnd is there a problem buying an SSD that is not recommended even though it is faster than recommended? It will then be seen as slow motion in your NLE unless you have shot it with a project frame rate of 60p. Then in post you simply merge all of the DNG's for each clip into a single folder along along with the WAV file and Resolve will see that as a single clip. It records like a RAID 0 so you are recording odd frames to one slot and even frames to the other. ![]() When you record in dual card mode it bounces between the two types of media to halve the data rate required. There is also a WAV file recorded for audio to match. Our RAW files are recorded as a DNG stack where each frame is a single DNG file in a folder for each clip. When the SSD is connected it shows up by default as your second slot so all you need to do is mount media in the first CFast slot and the SSD recorder and then ensure that REC RAW ON 2 CARDS is switched to 'On'. You can select an option in our menu that stops recording as soon as the card drops frames if you want so this is easy to test for and work out how long you will get. Yes after 15 seconds at 4.6K Lossless RAW 60p to a single card you will begin to drop frames.
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