Dan and Mike,

Congratulations on the linked nanos for 3D recording. Quite a feat!

I was wondering — blue-sky, I don't really know much about the technical side of this — but does this have any implications for Dual Link HD-SDI recording?

Jeff

Hi Jeff, I also have a dual link SDI camera and I'm pretty sure that the Nano will not sync to a leg of a dual link output. I can test this tomorrow to be sure.

Cool. What I'm wondering is if a 3-D nano could be used to record both legs of a Dual Link HD-SDI signal.

Not that I have such a camera.

Just curious.

Jeff

Out of a Double Link you don't get 2 single Link. The stream you get, is nothing that the NANO can manage.
The 3D NANO is basically two NANOs in sync, recording from two different SDI.
rafael

I'd rather see the nano supporting the 3G HD-SDI than dual link with two nanos.

I am not quite sure how dual link works. Does it split a 4:4:4 stream into two complementary 4:2:2 streams? If so, you should probably be able to use two nanos to record the dual link into two single link recordings, each compressed separately. Though, combining the two separate 4:2:2 files into a single 4:4:4 file would be a challenge.

Adam, one stream 4:2:2 the other 0:2:2

FYI:

HD-SDI Standards
Standard Name Bitrates Example Video Formats
SMPTE 372M Dual Link HD-SDI 2.970 Gbit/s, and 2.970/1.001 Gbit/s 1080p

For very high-definition applications, requiring greater resolution, frame rate, or color fidelity than the HD-SDI interface can provide, the SMPTE 372M standard defines the dual link interface. As the name suggests, this interface consists of two SMPTE 292M interconnects operating in parallel. In particular, the dual link interface supports 10-bit, 4:2:2, 1080P formats at frame rates of 60 Hz, 59.94 Hz, and 50 Hz, as well as 12-bit color depth, RGB encoding, and 4:4:4 colour sampling.

Cheers—

Jeff

Adam, one stream 4:2:2 the other 0:2:2

Thanks, Bruce.

I'd rather see the nano supporting the 3G HD-SDI than dual link with two nanos.

I am not quite sure how dual link works. Does it split a 4:4:4 stream into two complementary 4:2:2 streams? If so, you should probably be able to use two nanos to record the dual link into two single link recordings, each compressed separately. Though, combining the two separate 4:2:2 files into a single 4:4:4 file would be a challenge.

This is pure science fiction.
rafael

Well on my camera single link 4:2:2 SDI is encoded with YCrCB, which the nano works fine with. My camera's 4:4:4 dual link is RGB encoded. I don't think that will work with Nano.

This is pure science fiction.
rafael

No need to be rude. I clearly stated I did not know how it worked. Bruce's reply was much more constructive and up to the point.

...the AJA Kona 3 (I believe all Kona boards) could capture Dual Link HD-SDI. There are 2 SDI connectors on the BOB. I understand that the RED cameras are Dual Link HD-SDI capable.

Jeff

Dear Jeff,

We have not included Dual-Link HD-SDI recording in our current plans for nano3D.

For one, we had not thought of this.

Dan,

Pardon me for going off on such a tangent with this Dual-Link stuff, but the Nano 3-D got me thinking "blue sky." I would be very interested to hear from you or Mike as to whether or not this is even possible with a couple of Nanos. I was really impressed that you have them synchronized, and that got me started thinking...

I used to run a small software company, and we specialized in VTR control. If you ever control an RS-232, RS-422, or FireWire deck in Final Cut Pro, you're using our software. At one time (1996 or so), we had code that turned your desktop NLE into a DDR. We even had a 2 machine, frame-accurate, cuts-only editor waaaaaaaay back when. The last two products did not fly, but the knowledge gained in creating them was invaluable, and applied to other products.

All the best,

Jeff

No need to be rude. I clearly stated I did not know how it worked. Bruce's reply was much more constructive and up to the point.
Adam,
Sorry if I sound rude. Wasn't that my intention.

This is from Wikipedia:
"In the case of 1080p60, 59.94, or 50 Hz video over a dual link; each link contains a valid 1080i signal at the same field rate. The first link contains the 1st, 3rd, and 5th lines of odd fields and the 2nd, 4th, 6th, etc. lines of even fields, and the second link contains the even lines on the odd fields, and the odd lines on the even fields. When the two links are combined, the result is a progressive-scan picture at the higher frame rate".
If this is correct, with a 1080p60/50, each SDI could be recorded in a NANO.
The two stream could be recombined with the proper software.
Rafael

I found this note as well:

"Note that the data layout in dual link is designed so that the primary link can be fed into a single-link interface, and still produce usable (though somewhat degraded) video.

The secondary link generally contains things like additional LSBs (in 12-bit formats), non-cosited samples in 4:4:4 sampled video (so that the primary link is still valid 4:2:2), and alpha or data channels. If the second link of a 1080P dual link configuration is absent, the first link still contains a valid 1080i signal."
If what I pasted in the other post is true, probably that note is about 444 RGB, while this one is about 444 YUV. 422 RGB it doesn't exist.
rafael

I stand corrected. I configure my camera for 4:4:4 dual link HD-SDI output. I took the dual-link SDI on my camera and used HD-SDI (1) - synced just fine and recorded it just fine. I then connected to the HD-SDI (2) and it also recorded just fine and synced just fine.

This leads me to think that two boxes could in fact be used to record a dual link signal. Now if it could be done in full 10 or 12 bits, that would be remarkable indeed.

Matter of fact, if there were a way to combine the two images, and sync the two XDR together, I think I'd buy another one. Yeah, I would.

Aaron,

Couldn't an AJA Kona board handle the combining of the two legs? It would mean that you would have to play the video out in real time, capturing through the Kona as if it were being fed by a VTR.

I'm getting ready to dump my first generation Kona 2, but I see that Kona 3 still boasts Dual Link capability. Leads me to the question: how many folks with Kona boards ever actually used Dual Link input?

I've also begun wondering about the nanoFlash's potential as a DDR, and whether or not it might (with some work, of course) be controllable by RS-422 protocol.

Interesting, fun stuff to consider...

Jeff

Interesting points Jeff. If I had a Kona card, I'd be using dual link input everyday since may camera has dual link output. Not sure how many people use it though.

I was thinking more of a software method to combine the two seperate recordings of single link from a dual link source. Playing them back on the XDR or Nano doesn't provide me with any comfort level at all. These boxes have been proven to have severe playback problems. Maybe once they are made to be reliable playback boxes, this would work.

This has me even more curious now though. In order to test it, I'd need another XDR, a way to sync them up for recording and locked playback, a PC, a kona card, a RAID. I guess I'd need a lot of stuff.

I really would like to know if it would work though. At a price of around $8500 for two XDRs, it would be the lowest priced portable 4:4:4 recorder that I know of.

To be really useful though, the RS-422 port would need to be active, another feature that I'm not counting on anytime soon.

As I see the things, it would be a possibility of recording 1080p60/50 YUV 422.
No 444 RGB or YUV.
In 1080p60/50 YUV 422 its seems that each SDI output a 1080p30/25 stream. One the odd frames the other the even frames.
If you are able to record those two streams (Intraframe recording) combine the would be really easy with AE.
You don't need two NANOs to test if this is feasible.
Try one SDI at the time. See if you are able to record anything.
rafael

Hi Jeff, I also have a dual link SDI camera and I'm pretty sure that the Nano will not sync to a leg of a dual link output. I can test this tomorrow to be sure.
I noticed you said you have a dual-link SDI (SMPTE 372M) compatible camera, what kind of camera is it. I have been trying to find a link to all the professional camcorders that support SMPTE 372M or SMPTE 424M with zero luck.

Dear Douglas,

Arron has a Thomson Viper.

Dan is correct, it is a Thomson Viper. Since my original post, I did in fact purchase a 4:4:4 recorder and I now use that recorder when I record 4:4:4 dual link, and I use my Convergent Design recorder when I want to record 8bit 4:2:2.

You'd be surprised how often 8bit 4:2:2 is really all you need, although it's nice to have the option to do either.

Dan is correct, it is a Thomson Viper. Since my original post, I did in fact purchase a 4:4:4 recorder and I now use that recorder when I record 4:4:4 dual link, and I use my Convergent Design recorder when I want to record 8bit 4:2:2.

You'd be surprised how often 8bit 4:2:2 is really all you need, although it's nice to have the option to do either.....Hi Aaron: I'm sure that a Thompson Viper is worthy of at least 10 bit minimum color precision ;-) Although I'm sure the XDR clips look utterly amazing !

Dan is correct, it is a Thomson Viper. Since my original post, I did in fact purchase a 4:4:4 recorder and I now use that recorder when I record 4:4:4 dual link, and I use my Convergent Design recorder when I want to record 8bit 4:2:2.
Thanks for your guys answers.

I just noticed while looking through the user manual for the Viper the following supported formats:

The following formats can be selected in the Install menu:
1080psf at 23.98Hz
1080psf at 24Hz
1080psf at 25Hz
1080psf at 29.97Hz
1080i at 50Hz
1080i at 59.94Hz
1080i at 59.94Hz - 23
720p at 23.98Hz
720p at 25Hz
720p at 29.97Hz
720p at 50Hz
720p at 59.94Hz

What really surprised me was that even with the dual link data transfer rate the Viper doesn't appear to offer 1080p at 59.94Hz? I must have had the wrong impression about the reason for dual-link SDI to start with. I though it was introduced to be able to support the 1080p 60fps data rate. I'm seeing this isn't stricly true. Obviously the quality you must be getting is really incredible even at 1080i so I guess it's not really a problem. Since it looks like this camera is a Digital Cineman camera your probably shooting at 720p @ 24fps.

One thing I did notice when looking at some specs for SMPTE 424M standard is that it does mention it supports the 1080p @60fps data rate. In addition of course it offeres the dual-link SDI data rate to be transmitted through a single SDI cable at 1080p @ 60fps
http://en.wikipedia.org/wiki/SMPTE_424M


So I guess I'm back to my orginal question which is if any manufacture offers dual-link SDI or 3G-SDI on a camcorder (one piece unit) for 1080p @ 60fps capture?

Note: I guess you'd be generating some pretty big files at almost 3G/s second. Do you archive the big files to LTO-5 and use 16G/b Fiber Channel or 10GbE LANs to move the big files around?

Hi Douglas:
The reason for dual HD-SDI is to effectively transmit the 4:4:4 color space signal, which is 50 % greater than standard broadcast wavelengths.

Mark's Response:The reason for dual HD-SDI is to effectively transmit the 4:4:4 color space signal, which is 50 % greater than standard broadcast wavelengths.

Thanks for that bit of information, now it's all starting to makes more sense to me. So conversly when they're talking about the new SMPTE 424M standard supporting 1080p @ 60fps over a single SDI cable that would imply you'd be able to transfer video upto a 4:2:2 color space. Does that sound about right?

If not then now I guess I don't understand what the new SMPTE 424M standard is for :-)

Hi Douglas:
3G HD-SDI is simply a 3 Gigabit wide Interface which will allow a 4:4:4 bandwidth video signal to pass through a *Single HD-SDI interface, instead of having to use two (2) HD-SDI sockets to deliver the wider bandwidth video signal. (This would save space and money on a SSDR box [Like Mine] if I ever finish it !). A 3G HD-SDI interface is backwards compatible with standard broadcast HD-SDI 4:2:2 bandwidth signal interface.

Hey Mark,

Here is where I got that info from:

http://www.extron.com/download/files/extronews/hdsdihdmi_ts.pdf

Basically if you scroll down a little once you navigate to the page you'll see under
Mapping Structure One is you get:

1920 x 1080 4:2:2 (Y’C’BC’R) / 10-bit 60, 60/1.001, 50 frame progressive

So I miss assumed that I could shoot 60fps @ 1080p. using the 3G path.

Hi Douglas:
You certainly could shoot 1080 p 60 over 3G in 4:4:4 12 bit color space precision, as long as your camera can output this rate. The Sony SRW9000 HDCAM DR camcorder does precisely thus.

Hi Douglas. Most Viper shots are done 1080p 23.98. Nearly every feature that I know of shot with Viper are shot with that format. It's rare indeed that I change out of this mode. I did do some slight overcrank on a recent music video though. Shot 29.97 and conformed to 23.98 in post. The shots looked beautiful.

Most Viper shots are done 1080p 23.98. Nearly every feature that I know of shot with Viper are shot with that format.

That makes very good sense. the viper camera outputs such high quality at 23.98fps it really is like a 35mm film replacement. And since the film look is almost always associated with that frame rate look it's only natural that you would shoot at that frame rate.

You certainly could shoot 1080 p 60 over 3G in 4:4:4 12 bit color space precision, as long as your camera can output this rate. The Sony SRW9000 HDCAM DR camcorder does precisely thus.

Mark that really is good news! I noticed that the Sony HDC1500R444 does shoots 1080/59.94P. but I'm not sure if that's through dual-link SDI or through some other interface method. I tried to check out the Sony SRW9000 HDCAM DR, I ended up finding the SRW9000 HDCAM SR version instead. It supports dual-link for sure but not at 1080/59.94P. I think the answer is very soon new cameras will start emerging that do support this format on a regular basis. Probably when our compactFlash cards hold 512GB instead of 64GB :-)

Hi Douglas:
I hit the wrong key by accident describing the Sony model. There is only the Sony SRW 9000. This camera is an HDCAM SR camcorder. *It can do 1080 @ 59.94p via Dual LInk HD-SDI and I think 3G. (??) You need to have two (2) special hardware electronic optional boards inside the camera to accomplish this feature, however.

This camera is an HDCAM SR camcorder. *It can do 1080 @ 59.94p via Dual LInk HD-SDI and I think 3G. (??) You need to have two (2) special hardware electronic optional boards inside the camera to accomplish this feature, however.

Thanks Mark,

Now I know the exact Sony model number and camcorder that will provide this special type capability. I guess that's the end of this question :-)

what do you know about Adobe After Effects (Just kidding)!

The grassvalley LDK-8000 Elite using fiber and the LDK4582 fiber basestation outputs SMPTE 425M-A (3G) HD-SDI at 1080p50/59.94

The grassvalley LDK-8000 Elite using fiber and the LDK4582 fiber basestation outputs SMPTE 425M-A (3G) HD-SDI at 1080p50/59.94
Thanks Sander. Now I have a couple of options. There are some very esoteric ones out there like Viper Stream Camera Thompson but these are all very expensive and way over kill.

The ideal unit would coast under $50K and provide the basic broadcast capable quality using 2/3" chips and good low light levels f11 @ 2000lux. It would also support 1080p & 720p @ 60fps through dual-link SDI or 3G-SDI connection. recording to Solid state media would be good to. I guess you'd need to have about five (5) 64GB compact flash cards in it at a time :-)

Well the Thomson Viper Filmstream is no longer made anymore. It's definitely more than $50k so it's really not an option.

The LDK 8000 Elite however, is still current as far as I know. Of course the Sony SRW is a new camera and is also current. I don't think the Sony qualifies as an "under $50k" camera either, even before you start loading it up with option boards.

Well the Thomson Viper Filmstream is no longer made anymore. It's definitely more than $50k so it's really not an option.

The LDK 8000 Elite however, is still current as far as I know. Of course the Sony SRW is a new camera and is also current. I don't think the Sony qualifies as an "under $50k" camera either, even before you start loading it up with option boards.

I checked I can get the Sony for around $75K and I'm still waiting for pricing on the LDK 8000 from Thomson but I'm sure that's up there to. The next generation will come down below the $50k barrier. I think some of the consumer ones already shoot at 1080p @60fps but they're junk basically.

This is precisely why I bought a used Viper. I looked at how much money I had then looked at EVERY option available for that much money. The Viper, hands down crushed every camera system on the planet for that much money. You find them for $25k these days. There is even a guy on this forum who had a chance to buy a Viper for $10k. Trust me when I tell you, there is nothing out there at $10k that can approach what a Viper is capable of.

This is precisely why I bought a used Viper. I looked at how much money I had then looked at EVERY option available for that much money. The Viper, hands down crushed every camera system on the planet for that much money. You find them for $25k these days. There is even a guy on this forum who had a chance to buy a Viper for $10k. Trust me when I tell you, there is nothing out there at $10k that can approach what a Viper is capable of.
Thanks for that bit of Advice. How many hours did your unit have on it. did you find out what it costs to send the unit in for a full maintenance to make sure everything is A-OK?

Did you also pick up your Lens (and other required accessories) on ebay?

Hi Aaron:
The only camera which can beat the Viper is the fully decked out Sony SRW 9000 with the Super 35 MM CCD's installed and the full Cine-Gamma hardware LUT board & 9001, 9002 extra board set installed. You then can accomplish 1080 p60 @ 4:4:4 color space and 12 bit color precision via 3G HD-SDI. *However, this is a *VERY* expensive option for the SRW 9000 HDCAM SR camcorder. You will easily exceed $100,000.00 US Sony has announced its own SSDR add on for this camcorder, but I would imagine it's not cheap. They also have an option for the Convergent Design Nano Flash.

Thanks for that bit of Advice. How many hours did your unit have on it. did you find out what it costs to send the unit in for a full maintenance to make sure everything is A-OK?

Did you also pick up your Lens (and other required accessories) on ebay?

Hi Douglas. Grass Valley charged me $1200 to check out the camera but that included some minor repairs (nothing affecting picture or electronics). They did a full scope and check of every output and test point to make sure everything was working properly. I thought it was a little pricey (heck, I only paid $1900 total for my JVC HD-100) but I wanted to be able to shoot with confidence. Especially important when people are paying you.

The number of hours the Viper ran is not as critical as a camera with a built in recorder. The Viper has no recorder. The things you worry most about are the shutter motor and the fans, the only real moving parts and neither are too expensive. To answer your question, I have no idea how many hours the camera has ran. It might be a little misleading anyway. Most of the things I shoot, the camera is ON all day, every day for the entire shoot. It never gets turned off.

I got a Fujinon HD Lens, used for about $6k. Brand new the lens is only $8k though.

My recording system is the Flash XDR for compressed 8bit 422 and the Cinedeck for compressed or uncompressed 10bit 444 and 422. A few dozen other accessories and you've got yourself a nice little rig. Not once have I been dissatisfied with the results from the Viper, even when I had a cheap SD lens on it.

My recording system is the Flash XDR for compressed 8bit 422 and the Cinedeck for compressed or uncompressed 10bit 444 and 422. A few dozen other accessories and you've got yourself a nice little rig. Not once have I been dissatisfied with the results from the Viper, even when I had a cheap SD lens on it.

We'll that is very good information. It also appears that you're very satisfied with the performance aspects of this camera. What it sounds like your saying is that you bought a workable 1080p @60fps camera/recorder system for under $20K! That sounds like a pretty good deal to me. I'm not really as familiar with the Tompson products. At one time I was looking at the Infinity but never quite went there. Then the Sony came out with the SRW9000 which records to a different codec I guess. Nevertheless the final uncompressed output should be pretty much the same assuming the sensors capturing the light are of equal quality.

BTW I tried looking for the Flash XDR and kept seeing the NanoFlash. I know they're both from Convergent-Design. Is the NanoFlash just the newer lighter version of the Flash XDR, for some reason I didn't notice the Flash XDR in Convergent-Design's product drop down menu.

I guess the Sony has the added advantage (but also the weight) of an onboard recorder.

Dear Douglas,

The Flash XDR is a wonderful recorder, we are just not currently manufacturing it.

The nanoFlash is much smaller and light, and has only two CompactFlash card slots.

The Flash XDR audio has two balanced XLR inputs, with state of the art audio circuits.

For the nanoFlash, most people run the audio through their camera then out the HD-SDI, or through a mixer and use the Tape Out to the 2-Channel analog audio input via a single 3.5mm input jack.

One balance audio input is available via the same 3.5mm input jack on the nanoFlash.

One can get good quality 24-Bit / 48K audio via the nanoFlashes audio inputs.

Dear Douglas,

The Flash XDR is a wonderful recorder, we are just not currently manufacturing it.
Wow, I guess the Flash XDR just never quite took off or else you would have been manufacturing the new and and improved model b and c etc. It's probably because everyone is concerned about weight and size. Since you can mow buy 64GB CF cards and soon 128GB cards it sort of eliminates the need for 4 slots. I understand why videographers would want to keep the sound recording in their actual shooting camcorders viewfinder. it's important to be able to monitor both the sound levels and zebra's and other indications at all times. at least it was important to me. I did lots of interviews though.

Dear Douglas,

The Flash XDR has a two-channel analog audio output.

This allows one to take two-channels of XLR audio into the no-compromise audio circuits of the Flash XDR, process and record it ass 24-Bit / 48K, then send it to the camera inputs so that a redundant recording can be created simultaneously.

Thus you can monitor audio levels in your viewfinder.

To do this just requires a 5-Pin XLR to two 3-Pin XLR audio cable.

While the Flash XDR was the smallest, lightest, lowest power professisonal HD/SD recorder/player when we introduced it, many felt that it was too big for them.

Thus, we worked hard to build the second generation nanoFlash which is 40% the size of the Flash XDR, uses less power, and has HDMI inputs and outputs.

When the Flash XDR was designed, the maximum size CompactFlash card was 16 GB's.

Now, much faster 64 GB cards are available at lower prices and 128 GB cards are being promised soon.

With two 128 GB cards, the nanoFlash will be able to record Broadcast Quality (Sony PDW-F800 XDCAM 50 Mbps Long-GOP Quality) for 10.6 hours uninterrupted.

Or 14 Hours Sony XDCAM EX quality, or 2 hours using our 280 Mbps maximum quality mode.


The nanoFlash also offers analog audio inputs, one channel balanced mic/line, or two channels of unbalanced mic/line, which are processed as 24-Bit / 48K, and a two channel headphone/line output which can be used to feed manay cameras.

I guess the uncompressed data rate for 1080p @ 60fps 4:2:2 color space is around 1.5Gbs/sec and the uncompressed data rate for 3G-SDI (1080p @ 60fps, color space 4:4:4) is around 3Gbs/sec. Will Convergent Design be coming out with a nanoflash unit capable of handling the 3G-SDI interface or dual-link SDI with a recording time of about 60 minutes at some point?

Dear Douglas,

The Flash XDR has a two-channel analog audio output.

This allows one to take two-channels of XLR audio into the no-compromise audio circuits of the Flash XDR, process and record it ass 24-Bit / 48K, then send it to the camera inputs so that a redundant recording can be created simultaneously. ....Yup. When you say "no compromise," then you mean no compromise - The audio quality is beyond superb in the flash XDR from analogue sources. There is abundant headroom, which helps one obtain very hot voice signals for interviews without fears of digital audio distortion on the top end of voice inflexions.

Thus you can monitor audio levels in your viewfinder.

To do this just requires a 5-Pin XLR to two 3-Pin XLR audio cable. Dan I need to get this cable.

While the Flash XDR was the smallest, lightest, lowest power professisonal HD/SD recorder/player when we introduced it, many felt that it was too big for them.....The footprint is the only possible negative I can see with the XDR.

Thus, we worked hard to build the second generation nanoFlash which is 40% the size of the Flash XDR, uses less power, and has HDMI inputs and outputs...I have not found the Flash XDR to be much of a power drainer in any way. I use it with the Anton Bauer Elipse battery, and this little battery powers the XDR without compromise for an entire working day on the set.

When the Flash XDR was designed, the maximum size CompactFlash card was 16 GB's.

Now, much faster 64 GB cards are available at lower prices and 128 GB cards are being promised soon.

With two 128 GB cards, the nanoFlash will be able to record Broadcast Quality (Sony PDW-F800 XDCAM 50 Mbps Long-GOP Quality) for 10.6 hours uninterrupted.....Surely, you folks at CD must have known the storage capacity of CF media would only gradually increase in size ? Now multiply your calculations times four and you have close to one day (As in 24 hours) of continuous recording time. In fact, with 4 x 64 GB cards now available, and with 128 GB cards sure to arrive shortly, why is there even a need to eject media ? (Or shall I say shoot them across the room or out the window as I did the other day ! ;-) Ha ! Ha ! He ! He ! It wasn't raining, I was on the first floor, and the sidewalk of the gallery where I was shooting was clean and dry) - Just leave the CF cards in the recorder and plug them in via FireWire and let the Nano/XDR emulate a hard drive. With Avid Media Composer or Avid News Cutter, this would allow you to directly AMA a Nano Flash to the workflow in the field for news gathering or doc download, then back on the camera and format and shoot again. Sorry, about the big programming that would take Tommy :-) Dan, could you imagine the selling point of a nano or an XDR if you could directly AMA the device to the workflow in the field via FW I/O and a freakin laptop !?!?!? Heck, you wouldn't even have to remove the Nano or the XDR from camera piggy back, just connect it in the field to a tablet sized laptop talking to the news van or micro wave via Bluetooth and you're in !

Or 14 Hours Sony XDCAM EX quality, or 2 hours using our 280 Mbps maximum quality mode.....Or 25 minutes with 4 x 64 GB CF cards in uncompressed mode in Raid 0 :-) Would think you might get close to 60 minutes with 4 x 128 GB Cf cards striped in Raid 0 (??)

Dear Mark,

Yes, we expected the CompactFlash cards to increase in size and get lower in cost.

At one point we were able to get a quality 300x Read Speed, 133x Write Speed, 32 GB card for under $70. This card worked up to 100 Mbps in the Flash XDR and nanoFlash.

But, if one steps back for a minute, it is quite a technological feat to have 64 GB or 128 GB CompactFlash cards for a few hundred dollars.

I am very happy that you are pleased with the audio quality of the Flash XDR. We did our absolute best to make the audio subsystem great.

The audio in the nanoFlash is also very good, but it does not have 65 dB of gain like that Flash XDR does, it only has 44 dB of gain. Of course, this is enough gain for most purposes.

I will check on our stock level for the cable you requested. We can certainly custom build one for you if we do not have it in stock.