Page 1
PROFESSIONAL MONITOR/RECORDER
MANUAL
Updated June 2, 2015 | Firmware Release 2015.5
ProRes 422 (HQ)
ProRes 422
ProRes 422 (LT)
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USER MANUAL // MAY 2015
TABLE OF CONTENTS
INTRODUCTION // READ THIS FIRST! 2
PACKAGE CONTENTS 3
OVERVIEW 4
Odyssey7Q Features 4
Odyssey7Q Specicaons 5
RECORDING CAPABILITIES 6
Included Free with Odyssey7Q 6
Odyssey RAW Bundle (available Online) 7
RECORD TIME CAPACITIES 9
Apple ProRes & Uncompressed DPX 9
RAW Recording Formats 10
RECORDING OPTION RENTALS 12
Rental Acvaon Keys 12
Parameters for Rentals 12
ODYSSEY SSD MEDIA 13
2.5” Premium SSD Media 13
Odyssey Ulity Drive 13
ANATOMY 14
Mechanical Drawings 16
WORKING WITH MEDIA 37
Recording to SSD Media 37
Loss of Power During a Record 37
Downloading Media 37
File Storage 38
CD Data Unpacker 39
CD Clip Merger 39
CD Apple ProRes Transfer Ulity 40
POST PRODUCTION 41
Working with Recorded Files 41
Uncompressed Support (DPX sequence) 41
Apple ProRes 42
FS700 RAW Support (DNG Sequences) 43
FS700 RAW: Dealing with RAW Files 43
FS700 FCP X Import Sengs 44
Canon C500 4K RAW Support 45
ARRI Alexa ARRIRAW Support 45
ACCESSORIES 46
Convergent Design Accessories 46
Third Party Accessories 50
RELEASE NOTES 51
Firmware v5.10.100 51
Firmware v4.10.100 52
Firmware v3.10.100 56
Earlier Versions 58
ODYSSEY REMOTE TRIGGER 17
GETTING STARTED 18
Odyssey7Q Acvaon 18
Inializing 18
Powering Down 19
Seng Up & Using the Odyssey7Q 19
The Odyssey7Q Menu 19
Demo Mode 19
MENU SYSTEM 20
Odyssey Menu 20
Upper Tool Bar (Record Mode) 22
Lower Tool Bar (Record Mode) 29
Upper Tool Bar (Play Mode) 35
Lower Tool Bar (Play Mode) 36
1
LIMITED WARRANTY 59
APPENDIX 60
Monitor/Record Opons 60
WEBSITE LINKS 61
Convergent Design, Inc.
4525 Northpark Drive
Colorado Springs, CO 80918
Tel: ++(720)221-3861
Email: CDSupport@convergent-design.com
Website: Convergent-Design.com
Updated June 2, 2015 | Firmware Release MAY 2015
Page 3
INTRODUCTION // READ THIS FIRST!
BEFORE YOU BEGIN USING THE ODYSSEY7Q, WE STRONGLY
SUGGEST YOU REVIEW THE INCLUDED QUICK START GUIDE. WE
ALSO STRONGLY RECOMMEND THE FOLLOWING:
1. Always record to the INTERNAL MEDIA OF THE CAMERA; this is critical for proper
timecode and ideal for dual media / backup.
2. DO NOT REMOVE THE FOUR SCREWS FROM REAR OF CASE. This may result in
damage to the OLED panel. Such damage is not covered by warranty.
3. Power and Cabling: Make sure you have PROPER POWER (6.5-34VDC), plugged in to
the proper power port (left side of recorder), and that 3G-rated SDI cables are used.
4. Power source must be able to provide up to 24 watts at all times to the Odyssey7Q.
5. When powering the Odyssey7Q from an ARRI ALEXA camera, we recommend using
the 24V R/S Fischer-3 output from the ALEXA using the optional Convergent Design
cable.
6. Familiarize yourself with the equipment and test prior to shooting.
7. Before using the SSDs it is IMPERATIVE TO FORMAT them in the Odyssey7Q.
Formatting SSD media is a DESTRUCTIVE PROCESS; any existing data will be lost
during format.
8. Ensure that the camera’s viewnder data is not being recorded; IF YOU SEE
VIEWFINDER DATA ON THE ODYSSEY7Q monitor, then it will be recorded! In a future
update, if your camera can provide both clean and data-overlayed video feeds, it will be
possible to monitor one while recording the other.
9. NEVER DELETE ANY FILES OFF AN SSD FROM A COMPUTER, except when going
through a rmware update procedure.
10. While we recommend that you always maintain the latest rmware on your Odyssey7Q,
WE DO NOT RECOMMEND UPDATING FIRMWARE IF YOU ARE IN THE MIDDLE OF
A SHOOT (unless specically instructed to do so by our Technical Support staff).
11. When ofoading media, ALWAYS MAKE A BACKUP COPY, ideally to a RAID1 drive.
12. Be sure to allow the Odyssey7Q to nish closing a Record le before taking any further
action.
13. Always safely eject SSD Media by pressing the button before removing SSD media
from the Odyssey7Q.
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PACKAGE CONTENTS
Odyssey7Q box contains one (1) Odyssey7Q monitor/recorder and one (1) universal power supply.
MEDIA AND ACCESSORIES SOLD SEPARATELY!
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Page 5
OVERVIEW
ProRes 422 (HQ)
ProRes 422
ProRes 422 (LT)
ODYSSEY7Q FEATURES
MONITORING
PROFESSIONAL MONITOR: 7.7” 1280x800 OLED panel featuring true blacks, and accurate color with
a full range color gamut for REC709 or DCI-P3 viewing.
IMAGE ANALYSIS TOOLS: Waveform, Vectorscope (in future update), Histogram, False Color exposure
view, Zebra, three-mode Focus Assist, Pixel Zoom (1:1 & 2:1), LUTs, and Frame Guides.
MULTI-STREAM MONITORING: up to four HD video signals can be input and viewed simultaneously
(quad-split) or live-switched (choose between inputs for full screen display). A future paid update will
allow Multi-Stream Recording of up to four simultaneous Apple ProRes les and an XML log le of the
live switch.
FLEXIBLE I/O: two dedicated 3G-SDI inputs, two dedicated 3G-SDI outputs, two switchable 3G-SDI
input/outputs, one HDMI input, one HDMI output. Active Cross-Conversion means that all outputs are
always active regardless of which input is used.
RECORDING
HIGH-CAPACITY RECORDING: Two high-speed solid state Drives (SSD), available in 256GB, 512 GB
and 1TB capacities allow for extended recording.
4K / UHD / 2K / HD VIDEO RECORDING: Record 4K (4096x2160), UHD (3840x2160), 2K (2048x1080)
and HD (1920x1080, 1280x720) video in Apple ProRes 422 (HQ), Apple ProRes 422 or Apple ProRes
422 (LT).
The Odyssey7Q can record up to 1080p30 or 1080i60 over HDMI. Convergent Design manufactures the
Odyssey7Q+ to record 4K/UHD 10-bit or 1080p60 10-bit over HDMI.
UNCOMPRESSED 4:4:4 RGB VIDEO RECORDING: Record 2K (2048x1080) and HD (1920x1080)
Video in 12-bit or 10-bit uncompressed DPX les.
RAW RECORD OPTIONS: Optional recording features available at any time for purchase (Odyssey
RAW Bundle) or daily rental (for individual record option licenses).
Odyssey RAW Bundle Includes:
• ARRIRAW (ALEXA)
• CANON RAW (C500, C300mkII)
• SONY RAW (FS7/FS700)
• POV RAW (Indiecam and IO Industries cameras)
CONTINUED »
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OVERVIEW
ODYSSEY7Q SPECIFICATIONS
Display
SDI Video I/O
HDMI Video I/O
LUT Support
Focus Assist
Zebras
False Color
Waveform
Histogram
Vectorscope
1:1 / 2:1 Pixel Zoom
Mul-Stream
Display
Digital Audio I/O
Analog Audio I/O
Remote** and
Timecode
User Interface
DC Power Input
Power Draw
Weight and Size
Operang
Temperature
Onion Skinning
View Monitor Out
Record Clean Video
Record Triggers
Recording SSD
Media
Recording Formats
(base Odyssey7Q)
7.7" OLED, 1280x800, RGB 8-bit panel, ~ 16 million colors, wide gamut, 3400:1 contrast, 176°
viewing, true blacks
HD-SDI/3G support: Single/Dual link, 2-inputs, 2-outputs, 2 Bi-Direconal (can be inputs or
outputs), Full-size BNCs
HDMI I/O Version 1.4a support, up to 1080p30 422 8-bit
ARRI Log-C, CANON C-Log, SONY S-Log, S-Log 2, S-Log 3, Custom 3D-LUTs (.CUBE)
Video + Edges (Peaking), Edges Only, Enhanced Edges, user choice of color: Red, Green, or Blue
Dual adjustable zebra exposure indicators, selectable colors
False Color with 6 programmable levels & adjustable ranges
Luma only, RGB Parade, Red only, Blue only, Green only
Luma only, RGB Parade, Red only, Blue only, Green only
(FUTURE) Color Vectorscope with zoom
Image Zoom, Automac Vercal Flip (defeatable) , Programmable Aspect Rao Guides
Display four independent 1080 or 720 HD streams simultaneously (Quad-split) with live-switch
capability - 4 x SDI or 3 x SDI & 1 HDMI
8-channel embedded audio (48KHz, 24-bit) (2 channel inially, 8-channel via future rmware
update)
3.5mm stereo headphone output, 3.5mm stereo unbalanced input up to -10db
Timecode: LTC I/O (BNC) or embedded SDI / HDMI, (FUTURE) RS-232 I/O programmable GPIO.
Capacive Touchscreen, three mechanical keys
6.5 to 34vdc with built-in reverse polarity protecon; locking power connector, built-in power
switch
8 was (monitor only), 9-19 was (simultaneous monitor/record mode)
560 grams / 1.3 lbs., 7.9"" x 6.1"" x 1.0"" (200 x 155 x 25 mm)
-10 to +40°c (Operang)
-20 to +70°c (Storage)
(FUTURE) Overlay pre-recorded sll frame on live video with opacity slider
(FUTURE) Display the monitor-out (viewnder data) on the OLED while recording a clean video
signal. Available when using the SONY F3, SONY FS700, CANON C500 and ARRI Alexa cameras.
Touchscreen, SDI record trigger (ARRI, CANON, PANASONIC, RED, SONY), HDMI (SONY, CANON,
PANASONIC), Timecode, Remote Cable (Oponal Accessory)
Convergent Design SSDs with power-loss protecon, in 256GB, 512GB and 1TB capacies,
420Mb/sec write, 500Mb/sec read speed, compable with USB 3.0 and Thunderbolt Adapters.
SSDs and adapters sold separately.
Compressed Formats - Apple ProRes 422 (HQ)/Apple ProRes 422/Apple ProRes 422(LT)
4K/UHD 10-bit YCC 422 up to 30p
2K 10-bit YCC 4:2:2 up to 60fps
1080p 10-bit YCC 422 up to 60 fps
(FUTURE): 1080p RGB 12-bit 444 up to 60fps
Uncompressed Formats:
2K/1080p 10/12-bit 444 up to 30p
1080p RGB 10bit 444 up to 60fps
CONTINUED »
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RECORDING CAPABILITIES
INCLUDED FREE WITH ODYSSEY7Q
The Odyssey7Q can record a variety of video signals. With the purchase of the Odyssey RAW Bundle
or rental of individual recording options (available online) the Odyssey7Q is capable of recording RAW
output from certain cameras. With an optional multi-stream upgrade available in the near future the
Odyssey7Q will also be able to record up to four HD video signals simultaneously.
VIDEO
MULTI-STREAM HD
Video Monitoring
NOTE: this is a monitoring
mode only. A future
opon will allow recording
of up to four HD video
signals.
4K/UHD (4096x2160, 3840x2160): Apple ProRes, 4:2:2 YCC 10-bit, frame rates: 23.98p, 24p,
25p, 29.97p
2K/HD (2048x1080, 1920x1080): Uncompressed video in DPX stacks, 12-bit/10-bit 4:4:4, frame
rates: 23.98p, 24p, 25p, 29.97p, 30p
2K/HD (2048x1080, 1920x1080): Uncompressed video in DPX stacks, 10-bit 4:2:2 (recorded as
4:4:4), frame rates: 23.98p, 24p, 25p, 29.97p, 30p, 50p, 59.94p, 60p
2K/HD (2048x1080, 1920x1080): Apple ProRes, 4:2:2 YCC 10-bit, frame rates: 23.98p, 24p, 25p,
29.97p, 50p, 59.94p, 60p, 50i, 60i
HD (1280x720): Apple ProRes, 4:2:2 YCC 10-bit, frame rates: 50p, 60p
4K/UHD video over 4 x SDI feeds or 2 x SDI feeds (source dependent)
2K/HD video over SDI up to 60p
HD (1080) over HDMI up to 30p or 60i; HD (720) over HDMI up to 60p
SDI and HDMI accepted 1080p/psf frame rates: 23.98, 24, 25, 29.97, 30, 50i, 60i
SDI and HDMI accepted 720p frame rates: 50. 60
Display four independent 1080 or 720 HD streams simultaneously (Quad-split). Includes
capability to mix 1080 & 720 signals.
OLED display divided into quadrants or a single input may be selected for full screen display.
Live-switch between inputs directly.
Inputs are SDI A, SDI B, SDI A I/O, SDI B I/O and HDMI (signals auto-detected; [SDI A] must
always be present).
HD video signals do not need to be Genlocked.
HD video signals do not need to match frame rates or resoluons.
NOTE: this is a monitoring mode only. A future opon will allow recording of up to four HD
video signals.
NOTE: If feeding video from a switcher to Odyssey7Q, the switcher must have internal frame
synchronizers or the cameras input to the switcher must be genlocked.
APPLE PRORES RECORDING
Odyssey now supports recording Apple ProRes 422 (HQ), Apple ProRes 422 and Apple ProRes 422 (LT).
Files are saved in .MOV format.
PRORES 422 (HQ)
PRORES 422
PRORES 422 (LT)
The Apple ProRes 422 (HQ) codec oers the utmost possible quality for 4:2:2 or 4:2:0 sources
(without an alpha channel) and provides the following:
• Target data rate of approximately 220 Mbps (1920 x 1080 at 60i)
• Higher quality than Apple ProRes 422
The Apple ProRes 422 codec provides the following:
• Target data rate of approximately 145 Mbps (1920 x 1080 at 60i)
• Higher quality than Apple ProRes 422 (LT)
The Apple ProRes 422 (LT) codec provides the following:
• Roughly 70 percent of the data rate of Apple ProRes 422 (smaller le sizes than ProRes 422)
• Higher quality than Apple ProRes 422 (Proxy)
CONTINUED »
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RECORDING CAPABILITIES
ODYSSEY RAW BUNDLE (AVAILABLE ONLINE)
All recording option upgrades are available for demo on the Odyssey7Q+, but will appear with a blue or
pink line “watermark” across the recorded image.
Recording options are available to purchase as a permanent license (Odyssey RAW Bundle) or rent on a
daily basis from the Convergent Design website at Convergent-Design.com/products/odyssey-raw.html.
Please note that record option upgrades (rental or purchase) are delivered in the form
of activation keys that are specic to the unit for which they are purchased and cannot be
transferred between units.
SONY FS7/FS700 RAW
The Odyssey7Q supports
SONY FS7/FS700 4K & 2K
RAW and high quality video
derived from RAW.
(Included in the Odyssey
RAW Bundle)
FS 4K RAW / 23.98, 25, 29.97, 50, 59.94, (FS700 only) 4K 440 frame burst mode: 100, 120
FS 2K RAW / 23.98, 25, 29.97, 50, 59.94, 100, 120, 200*, 240*
NOTE: FS 4K/2K RAW data is recorded as .DNG les.
FS 4K RAW to 4K Apple ProRes / 23.98, 25, 29.97
FS 4K RAW to 2K Apple ProRes / 23.98, 25, 29.97
FS 4K RAW to UHD Apple ProRes / 23.98, 25, 29.97
FS 4K RAW to HD Apple ProRes / 23.98, 25, 29.97
FS 4K RAW Burst to 2K ProRes / 100p, 120p (FS700 ONLY)
FS 4K RAW Burst to HD Apple ProRes / 100p, 120p (FS700 ONLY)
*NOTE: 2K RAW 200fps and 240fps, 4K RAW 50/60 and 100/120 Burst Recording require that
you record to two SSDs simultaneously.
More Info: Convergent-Design.com/products/recording-opons/sony-fs700.html
ARRI ALEXA
ARRIRAW
The Odyssey7Q supports
all ARRIRAW formats and
frame rates output by Alexa
Classic cameras.
(Included in the Odyssey
RAW Bundle & available
ARRIRAW data is recorded as .ari les.
ARRIRAW 16:9 / 23.98, 24, 25, 29.97, 30, 48*, 50*, 59.97*, 60*
ARRIRAW 4:3 / 23.98, 24, 25, 29.97, 30, 48*
*Future Firmware Update for 4:3 Support
*NOTE: ARRIRAW above 30fps requires two SSDs to simultaneously record. In a future
rmware update only one SSD will be required for all frame rates.
for daily rental)
More Info: Convergent-Design.com/products/recording-opons/arri-alexa.html
CANON C500
Cinema RAW
The Odyssey7Q supports
CANON C500 4K RAW.
Future rmware updates
will support “Slow & Fast”
mode, and other C500
formats.
(Included in the Odyssey
RAW Bundle & available
for daily rental)
CANON Cinema RAW data is recorded as .RMF les.
4K RAW to 4K Apple ProRes / 10-Bit / 23.98, 24, 25, 29.97, 30
QHD RAW to UHD Apple ProRes / 10-Bit / 23.98, 24, 25, 29.97, 30
Supported 4K/QHD RAW / 23.98, 24, 25, 29.97, 30, 50*, 59.94*, 60 4K Half RAW 50, 59.94,
100*, 120*
2K/1080p 12-bit/10-bit 4:4:4 support / 23.98, 24, 25, 29.97
*NOTE: CANON RAW 50-60p and Half RAW 100-120p requires two SSDs to simultaneously
record.
More Info: Convergent-Design.com/products/recording-opons/canon-c500.html
CONTINUED »
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RECORDING CAPABILITIES
POV RAW
Supports several industrial/
special use cameras’ RAW
outputs.
(Included in the Odyssey
RAW Bundle & available
for daily rental)
IO Industries Flare 2KSDI: 2K/HD 10-Bit RAW / 23.98-60p
Indiecam indieGS2K: 2K/HD 10-Bit RAW / 60-120p
Indiecam indieGS2K: HD 10-Bit RAW / 23.98-60p
Indiecam indieGS2K: HD 12-Bit RAW / 23.98-60p
NOTE: RAW data is recorded as .DNG les.
NOTE: Video outputs do not require Record Opon.
More Info: Convergent-Design.com/products/recording-opons/pov-raw.html
AVAILABLE WITH A FUTURE FIRMWARE RELEASE
MULTI-STREAM
Recording
Supports recording
up to four HD streams
simultaneously via 3G-SDI
and HDMI
Addional specicaons will be made available upon release.
NOTE: Mul-Stream Monitoring is acve with UNIT acvaon and does not require the
purchase of this record opon
DUAL-STREAM AND MULTI-STREAM RECORDING ARE NOT INCLUDED IN THE ODYSSEY RAW
BUNDLE AND MUST BE PURCHASED SEPARATELY WHEN IT BECOMES AVAILABLE.
(Will be available for
purchase and/or daily
rental in the near
future - NOT INCLUDED
IN ODYSSEY RAW
BUNDLE)
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RECORD TIME CAPACITIES
APPLE PRORES & UNCOMPRESSED DPX
The Odyssey7Q can record numerous video and data formats such as Apple
ProRes and uncompressed DPX, which are included free with the Odyssey7Q.
The chart below indicates maximum record time in minutes based on the use of
two 512 GB SSDs (1TB). For 512 GB (one 512 GB SSD or two 256 GB SSDs),
divide in half. For 256 GB, divide by four. For 2TB (two 1TB SSDs), multiply by
two. Record time capacities vary based on format.
RECORDING FORMAT
24fps
25fps
30fps
50fps
60fps
100fps
120fps
Apple ProRes 422 (HQ) (Included FREE with Odyssey7Q)
4K Apple ProRes 422 (HQ) 157 151 126
UHD Apple ProRes 422 (HQ) 168 161 134
2K Apple ProRes 422 (HQ) 629 603 503 301 251
1080p Apple ProRes 422 (HQ) 670 643 536 322 268
1080i Apple ProRes 422 (HQ) 643 536
Apple ProRes 422 (Included FREE with Odyssey7Q)
4K Apple ProRes 422 220 212 176
UHD Apple ProRes 422 264 252 212
2K Apple ProRes 422 964 924 772 460 384
1080p Apple ProRes 422 848 508 424
1080i Apple ProRes 422 848
720p Apple ProRes 422 924 772
720p Apple ProRes 422 (HQ) 724 604
Apple ProRes 422(LT) (Included FREE with Odyssey7Q)
4K Apple ProRes 422 (LT) 328 316 264
UHD Apple ProRes 422 (LT) 408 392 324
2K Apple ProRes 422 (LT) 636 528
1080p Apple ProRes 422 (LT) 728 604
1080i Apple ProRes 422 (LT) 1212
720p Apple ProRes 422 (LT) 1212
Uncompressed DPX (Included FREE with Odyssey7Q)
2K Uncompressed DPX (RGB 444 12-bit) 71 68 56
2K Uncompressed DPX (RGB 444 10-bit) 78 74 62
1080p Uncompressed DPX (RGB 444 12-bit) 75 72 60
1080p Uncompressed DPX (RGB 444 10-bit) 83 79 66 40 33
Informaon provided for comparison purposes only. Features and specicaons are subject to change without noce.
200fps
240fps
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CONTINUED »
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RECORD TIME CAPACITIES
RAW RECORDING FORMATS
With the purchase of the Odyssey RAW Bundle or rental of a recording option upgrade (available online)
the Odyssey7Q+ is capable of recording RAW output from certain cameras. The chart below indicates
maximum record time in minutes based on the use of two 512 GB SSDs (1TB). For 512 GB (one 512 GB
SSD or two 256 GB SSDs), divide in half. For 256 GB, divide by four. For 2TB (two 1TB SSDs), multiply
by two. Record time capacities vary based on format.
Recording Format
24fps
25fps
30fps
50fps
60fps
100fps
120fps
200fps
240fps
SONY FS7/FS700 RAW Recording Opon (Included in the Odyssey RAW Bundle - not available for rental)
FS 4K RAW 50 48 40 24 20
FS 2K RAW 200 192 160 96 80 48 40 24 20
FS 4K RAW to 4K Apple ProRes 422 (HQ) “4K->4K” 168 161 134
FS 4K RAW to UHD Apple ProRes 422 (HQ) “4K->UHD” 168 161 134
FS 4K RAW to 2K Apple ProRes 422 (HQ) "4K->2K" 629 603 503 301 251
FS 4K RAW to HD Apple ProRes 422 (HQ) “4K->HD” 670 643 536 322 268
FS 4K RAW to 4K Apple ProRes 422 “4K->4K” 220 212 176
FS 4K RAW to UHD Apple ProRes 422 “4K->UHD” 264 252 212
FS 4K RAW to 2K Apple ProRes 422 "4K->2K" 964 924 772 460 384
FS 4K RAW to HD Apple ProRes 422 “4K->HD” 848 508 424
FS 4K RAW to 4K Apple ProRes 422 (LT) “4K->4K” 328 316 264
FS 4K RAW to UHD Apple ProRes 422 (LT) “4K->UHD” 408 392 324
FS 4K RAW to 2K Apple ProRes 422 (LT) "4K->2K" 636 528
FS 4K RAW to HD Apple ProRes 422 (LT) “4K->HD” 728 604
FS700 High Speed Burst Mode: 440 frames @ 100p (4.4s) or 120p (3.7s)
FS 4K RAW Burst to 4K RAW (155 takes in 1TB) 12 10
FS 4K RAW Burst to 2K ProRes 422 (HQ) 148 124
FS 4K RAW Burst to 2K ProRes 422 228 192
FS 4K RAW Burst to 2K ProRes 422 (LT) 316 264
FS 4K RAW Burst to HD Apple ProRes 422 (HQ) 156 132
FS 4K RAW Burst to HD Apple ProRes 422 252 212
FS 4K RAW Burst to HD Apple ProRes 422 (LT) 364 300
CONTINUED »
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RECORD TIME CAPACITIES
Recording Format
24fps
25fps
30fps
50fps
60fps
100fps
ARRI ALEXA Recording Opon (Included in the Odyssey RAW Bundle or available for daily rental)
ARRIRAW 16:9 90 87 72 43 36
CANON C500 Recording Opon (Included in the Odyssey RAW Bundle or available for daily rental)
Canon 4K RAW 56 54 45 27 23 30 25
Canon 4K Half RAW 54 45 27 23
Canon QHD Raw 60 58 48 29 24
Canon 4K RAW to 4K Apple ProRes 422 (HQ) 157 151 126
Canon QHD RAW to UHD Apple ProRes 422 (HQ) 168 161 134
Canon 4K RAW to 4K Apple ProRes 422 220 212 176
Canon QHD RAW to UHD Apple ProRes 422 264 252 212
Canon 4K RAW to 4K Apple ProRes 422 (LT) 328 316 264
Canon QHD RAW to UHD Apple ProRes (LT) 408 392 324
POV RAW Recording Opon (Included in the Odyssey RAW Bundle or available for daily rental)
POV 2K 10-bit RAW 252 242 202 121 101
POV HD 10-bit RAW 269 258 215 129 107 64 54
POV HD 12-bit RAW 222 213 178 106 89
120fps
200fps
240fps
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RECORDING OPTION RENTALS
RENTAL ACTIVATION KEYS
Rental Activation Keys may be purchased though our website for the Canon C500 Cinema RAW, the ARRI
Alexa ARRIRAW and POV RAW recording options. Please visit the links in the Recording Capabilities
section for more information.
PARAMETERS FOR RENTALS
• Rentals are based on a 24 hr period, Rentals can be added to the unit in daily (24 hour)increments
up to a maximum of 30 days at a time.
• A rental starts the rst time a record is performed in the rental codec, then the 24 hour clock starts.
• Note that during a 24 hr rental period you will not be allowed to adjust the clock after the rst record.
Thus users must set a central time, or choose a timezone that will best t all of their given locations
in that 24 hr period.
• After 24 hours a user may adjust the clock as needed, till the next record is performed.
• Rentals are unit specic, by the unit serial number, and must be purchased via our website. Once a
rental key is input into a unit, there is no way of retrieving or transferring the rental to another unit.
• To activate a rental simply enter the 8 character key into the unit’s activation section.
• To check the status of an active rental touch the codec box.
• When a rental period has two days remaining, the rental text will change to yellow.
• When a rental period has one day remaining, the time will display in the form of minutes and will be
ash for the last hour.
• When there is one minute remaining, if a record is started, that entire clip will be recorded without a
watermark regardless of length up to a maximum of 80 mins. (In other words, will let you nish your
last take, which can be a maximum of lling up both drives, based on a RAW format.
• After the nal clip the time remaining will change back to a white 0 mins.
For more information or to purchase Rental Options please visit our the Recording Options page of our
website at Convergent-Design.com/products/recording-options.
For support with Rental Options visit us online at Convergent-Design.com/support
CONTINUED »
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ODYSSEY SSD MEDIA
2.5” PREMIUM SSD MEDIA
To enable recording on the Odyssey, you must use Convergent Design Odyssey Premium SSD media.
Only Convergent Design Odyssey SSDs will work in the Odyssey. These SSDs, available in 256GB,
512GB and 1TB capacities and must be purchased separately. Firmware updates must be completed
only with Convergent Design Odyssey SSD or Convergent Design SSD Utility Drives.
256GB Odyssey SSD CD-SSD-256GB
512GB Odyssey SSD CD-SSD-512GB
1TB Odyssey SSD CD-SSD-1TB
ODYSSEY UTILITY DRIVE
The Odyssey Utility Drive is designed as a lower cost alternative to the Odyssey Premium SSD media
for secondary tasks. The Odyssey Utility Drive can be used for Odyssey rmware updates and future
functionality such as 3D-LUT les.
The Convergent Design SSD Utility Drive will not record video les. It is intended for Odyssey owners
who do not wish to tie up an SSD with utility features, or for Odyssey owners who use their devices as
monitors and do not need to purchase the more expensive recording media.
Utility Drive for Odyssey CD-SSD-UTILITY
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ANATOMY
ODYSSEY7Q - BOTTOM
There are eleven connector ports on the bottom side of the Odyssey7Q (left to right)
PWR ON
SDI A IN
SDI B IN
LTC IO
SDI A IO
HDMI IN
SDI B IO
SDI A OUT
SDI B OUT
AUDIO IN
AUDIO OUT
Power input socket to Odyssey7Q (see Geng Started – Power). Just in front of the PWR ON port is
a buon, which is a Force Power On/O control. Hold buon ve seconds to force power o. This is
only to be used if standard power on or o procedures fail (see Geng Started – Inializing).
BNC connector for 3G-SDI input A
BNC connector for 3G-SDI input B
BNC connector for Linear Timecode input/output
BNC connector for 3G-SDI input/output A. In Mul-Stream monitoring mode, the Odyssey7Q can
accept up to four HD video inputs. These IO ports allow addional inputs or addional outputs for
the Odyssey7Q.
HDMI 1.4 input from HDMI video source.
BNC connector for 3G-SDI input/output B. In Mul-Stream monitoring mode, the Odyssey7Q can
accept up to four HD video inputs. These IO ports allow addional inputs or addional outputs for
the Odyssey7Q.
BNC connector for 3G-SDI output A
BNC connector for 3G-SDI output B
3.5mm mini-phone stereo socket for analog audio in. This input will be enabled in a free future
rmware update.
3.5mm mini-phone stereo headphone socket.
ODYSSEY7Q - TOP
There are two Solid State Drive (SSD) slots, SSD1 and SSD2.
Only Convergent Design 256GB, 512GB and 1TB Odyssey SSDs can be used to capture video on the
Odyssey7Q. The Odyssey Utility Drive can be used for rmware updates and other future functions, but
not to record video les. To mount SSD, insert connector-end rst with the label facing forward and the
handle near ush with the back of the Odyssey7Q. Push gently but rmly until the handle ange is ush
with the top of the Odyssey7Q. It is a snug t, but the SSD should insert smoothly.
CONTINUED »
14
Page 16
ANATOMY
ODYSSEY7Q - LEFT SIDE
There are two Function buttons, F1 LOCK and F2 SHUT DOWN.
F1 LOCK
F2 SHUT
DOWN
Lockout control for the Odyssey7Q touchscreen. Push to engage and SCREEN LOCK will appear in the
center of the touchscreen’s Upper Tool Bar. Push F1 again to disengage. Engaging F1 also re-calibrates
the touchscreen.
Preferred method to power down the Odyssey7Q. Properly closes les on the SSDs and performs other
maintenance funcons (see Geng Started -- Powering Down). Push to acvate prompt asking SAFELY
POWER DOWN UNIT? In a future free rmware update it will be possible to program these buons for
addional funcons.
ODYSSEY7Q - RIGHT SIDE
There are three connector ports, (top to bottom) USB, HDMI OUT and RMT.
USB
HDMI OUT
RMT
KENSINGTON LOCK PORT
An access point for servicing by Convergent Design.
Output to an HDMI compable device
A remote control connecon to the Odyssey7Q.
In a future free rmware update the RMT port will allow control interface with funcons of
the Odyssey7Q.
A rectangular hole above the RMT port is for accepng a Kensington Security Lock.
MOUNTING
The Odyssey7Q features three ¼-20 threaded sockets, one on the lower rear of the case and one each
on the left and right sides of the case. Do not exceed 11mm of depth when inserting a bolt, otherwise
damage may occur to the Odyssey7Q. Additionally, there are four M3 threaded sockets on the rear of the
case and two M4 sockets on each of the sides of the case.
CONTINUED »
15
Page 17
ANATOMY
MECHANICAL DRAWINGS
16
Page 18
ODYSSEY REMOTE TRIGGER
The Convergent Design Odyssey Remote Trigger is a pushbutton active remote
start/stop trigger for Odyssey monitor/recorders. Remote Trigger feature has been
enabled in rmware version 5.10.100 in HD ProRes recording only. The trigger button
illuminates while recording. The trigger plugs into the RMT port on the left side of the
Odyssey and comes in a six foot standard cable length.
Scan for Knowledgebase article
Contact your dealer about ordering part number CD-OD-REMOTE. Custom cable lengths and breakout
cables for triggering multiple Odysseys are available for special order.
You may also have a custom cable made if you need a special length or would like to trigger multiple units
with one remote. Please see the wiring diagram and other information below.
17
Page 19
GETTING STARTED
ODYSSEY7Q ACTIVATION
Convergent Design requires each Odyssey7Q to be registered via our website. This is so that we can
provide notices of free rmware updates, issue alerts for critical issues, and track rentals or purchases
of record options.
Upon rst initializing of the Odyssey7Q (see below), a prompt will appear asking if the device is to be
Activated at this time or if it is to be used in DEMO mode. In DEMO mode the Odyssey7Q is fully
functional, however a blue or pink bar “watermark” will appear in any recorded video.
In order to Activate the Odyssey7Q after initial purchase, go to Convergent-Design.com to register and
activate your unit. When you have registered a new account (or logged into your existing account) you
will be able to Add a Device to your account at which time you will be provided the Basic Activation Key
for your device.
The Activation prompt will appear upon every initialization of the Odyssey7Q until the device is Activated.
When Activate is selected, follow the prompts to Activate the Odyssey7Q using the Basic Activation Key
you were given on the website.
Also, make sure your Odyssey7Q has the latest rmware, posted here:
Convergent-Design.com/support/rmware-downloads.html
See Firmware Updates under the Appendix below for more information on how to put new
rmware on your Odyssey7Q.
INITIALIZING
Plug in power to the Odyssey7Q. It should take about 5-10 seconds to initialize, depending on the mode
it is set to. If the Odyssey7Q does not self-initialize, push the PWR ON button next to the power socket
on the lower left corner of the Odyssey7Q.
As part of the initializing process, SMPTE color bars may appear briey on the screen. If there is a
signal input into SDI A IN that matches the record format the Odyssey7Q is set to, then the image should
appear on the screen. If there are SSDs mounted in the Odyssey7Q then a DETECTING SSD message
will appear on the lower left of the screen. If the SSD needs to be re-initialized or formatted, a second
message may appear. If the Trigger Button in the Upper Tool Bar appears as a red box surrounding a
white circle, then the Odyssey7Q is ready to record.
CONTINUED »
18
Page 20
GETTING STARTED
POWERING DOWN
While it may seem an odd time to note this, it is important to know that there is a preferred method to
shutting down the Odyssey7Q. On the left side of the case, the F2 SHUT DOWN button should be
pressed. This prompts a conrmation to “SAFELY POWER DOWN UNIT?”
Powering down in this fashion properly closes the les and directory system on the SSDs, preventing
corruption. If the Odyssey7Q should ever suffer a failure and the F2 SHUT DOWN sequence does not
function properly, the unit can be Force Power Off by holding the PWR ON button by the power socket on
the lower left corner of the Odyssey7Q, or simply by pulling the power connector out of the power socket.
If the Odyssey7Q is ever powered down in this fashion, it is important to run a recovery on the SSDs in
the Odyssey7Q menu at MENU » ODYSSEY » SSDs » RECOVER SSD1 » RECOVER SSD2.
SETTING UP & USING THE ODYSSEY7Q
The touch screen of the Odyssey7Q features all of the device’s controls in a straightforward, easy to
navigate structure. Each box is a “virtual button.” Tap it briey to activate/deactivate it, or hold it for a
few seconds to open up the menu dening its function. The controls at the top of the display (Upper Tool
Bar) are the recording, playback and formatting administration. The controls at the bottom of the display
(Lower Tool Bar) are the image analysis adjustments.
THE ODYSSEY7Q MENU
Starting on the left, tapping the ☼ button brings up the initial setup menus for the Odyssey7Q. Don’t be
intimidated by the number of selections in the ☼ section. This is by far the most in-depth section of the
Odyssey7Q touchscreen menus. More information about the Odyssey7Q Menu System is available on
the following pages.
DEMO MODE
Out of the box the Odyssey7Q is in DEMO MODE and must be owner-registered with Convergent Design.
On the Odyssey7Q a watermarking blue bar will appear on the lower third of the image both on the OLED
and in the recording while in DEMO MODE. The Record Options are also available in their own DEMO
MODE even once the unit is activated, so that they may be tested but will show a blue bar in the frame.
Activation of each Record Option eliminates the blue bar.
To activate the Odyssey7Q after initial purchase, go to Convergent-Design.com, create a user account
and add the device to your account. When you add a device to your account you will be provided with
the Basic Activation Key for that device. Once this is completed, any time you wish to purchase or rent a
Record Option, return to the Convergent Design website and follow the prompts to the online store. Upon
payment the website will present a code which can then be entered into the Odyssey7Q by tapping the
appropriate button under the Activation menu. To see if a selection has been enabled, tap on the option’s
button to see if ACTIVE appears.
NEXT: MENU SYSTEM »
19
Page 21
MENU SYSTEM
ODYSSEY MENU
The ODYSSEY Menu allows you to access basic device settings. This is where you can view and enter
activation keys, set date, time & metadata, format & recover SSDs and view information about the device
such as the rmware version and serial number. It is accessed by tapping ☼ then tapping ODYSSEY.
ODYSSEY
SET
→
ACTIVATION
DEMO MODE: ALL AVAILABLE RECORD OPTIONS ARE FUNCTIONAL IN A DEMO MODE, BUT IF THE OPTION HAS
NOT BEEN ACTIVATED THE IMAGE FOR THAT OPTION WILL APPEAR WITH A LARGE BLUE BAR “WATERMARK” ON
SCREEN WHEN RECORDING. THIS BAR IS RECORDED IN THE IMAGE FILE.
SSDS ERASE & FORMAT SSD1
TIME
DATE
RESET
ABOUT
UNIT
FS700 RAW
CANON RAW
ARRIRAW
POV RAW
MULTI-STREAM
ERASE & FORMAT SSD2
ERASE & FORMAT BOTH
REBUILD SSD1
REBUILD SSD2
Set the appropriate me.
Set the appropriate date.
MENU
METADATA
ALL (FACTORY DEFAULTS)
RESET (DELETE) LUTS
Displays the rmware version, serial number, warranty status, and which Opons are acvated.
Check our website regularly to ensure you are running the current rmware.
→
PLEASE NOTE: Formang should be performed at the start of use of any new SSDs and the
start of any new project. Recovery is for when the SSD was not properly dismounted from the
Odyssey. This includes physically removing the SSD without running the eject sequence,
sudden loss of power to the Odyssey or improper powering down of the Odyssey. The Recover
process accesses any incomplete les on the SSD and, when possible, properly closes them.
NOTE: FORMATTING OF SSDs SHOULD ALWAYS BE PERFORMED ON THE ODYSSEY.
Option Description Notes
Enter Key or
‘OK’
Enter record
opon
key using
on-screen
keyboard
Shows
ACTIVE if a
key has been
entered for
the record
opon.
Permanently erases everything on SSD1. FORMATTING IS A
Permanently erases everything on SSD2.
Permanently erases everything on both
cards.
Non-destrucvely recovers /rebuilds le
system of SSD1
Non-destrucvely recovers /rebuilds le
system of SSD2
For acvang Odyssey
(required)
RAW output of Sony FS7
or FS700
RAW output of Canon
C500
RAW output of ARRI
ALEXA
RAW output of various
industrial and specialty
use cameras such as IO
Industries or IndieCam
(Available in a future
rmware update)
Record up to four HD
signals simultaneously
(Mul-stream monitoring
is acve with UNIT
acvaon.)
Restore all default
sengs.
Resets metadata elds
Resets all sengs
Deletes User LUTs
Tap to reveal a key code
prompt.
To acvate the Odyssey
aer inial purchase, go
to Convergent-Design.
com, create an account
and add the device. Once
this is completed, anyme
one wishes to purchase or
rent a recording opon,
return to the Convergent
Design website and follow
the prompts. The website
will present a code which
can then be entered into
the Odyssey7Q on the
[acvaon] menu page.
To see if a selecon has
already been enabled, tap
on that opon’s buon to
see if ACTIVE appears.
DESTRUCTIVE PROCESS
AND WILL ERASE ANY FILES
CURRENTLY ON THE SSD.
BE SURE TO DOWNLOAD
ALL FILES BEFORE
FORMATTING.
Use only in extreme cases
(such as if a computer
corrupts the SSDs le
system).
IMPORTANT FOR
RECORDING OPTION
RENTALS
Does not eect rmware
version or record opons.
CONTINUED »
20
Page 22
MENU SYSTEM
The remainder of the ☼ menu replicates controls available on the Upper Tool Bar when the Odyssey7Q+
is in RECORD mode.
☼
SETUP INPUTS OUTPUTS AUDIO
╚
SETUP
Controls for Camera Type, Recording Format, and Trigger. Replication of RECORD STATUS button
controls (for details see page 26)
INPUTS
Controls for video and timecode inputs. Replication of INPUT/OUTPUT STATUS button (Input Control
Settings) (for details see page 24)
OUTPUTS
Controls for video outputs. Replication of INPUT/OUTPUT STATUS button (Output Control Settings) (for
details see page 25)
AUDIO
Controls for Audio settings. Replication of AUDIO STATUS button (for details see page 28)
Congratulations! You are through the ☼ menu. Everything gets easier from here. Please
note that many of these controls are also available in the rest of the Upper Toolbar.
CONTINUED »
21
Page 23
MENU SYSTEM
UPPER TOOL BAR (RECORD MODE)
Tapping the REC/PLAY Button toggles the Upper Tool Bar between Play mode and Record mode. Upper
Toolbar selections are different in Play Mode than in Record Mode. Some buttons appear in all modes
while others will only appear in a certain mode.
UPPER TOOL BAR CONTROLS (RECORD MODE)
1 2 3 4 5 6 7 8 9
1
☼
MENU BUTTON
2
SYSTEM STATUS
3
INPUT STATUS (REC MODE ONLY)
4
RECORD STATUS (REC MODE ONLY)
5
TRIGGER BUTTON (REC MODE ONLY)
6
SSD1 STATUS
7
SSD SAFE EJECT
8
SSD2 STATUS
9
REC/PLAY TOGGLE
10
CLIP METADATA
11
LAST TAKE
12
AUDIO
10 11 12
CONTINUED »
22
Page 24
MENU SYSTEM
SYSTEM STATUS (ALL MODES)
12.2V
8.1W
+40°C
SYSTEM STATUS
VOLTS: 12.1V (6.5~34V)
POWER: 10.0W
TEMP: +31° (<60°C)
2014 AUG 21 08:42:58
ODYSSEY7Q ABOUT
FIRMWARE: 2.20.10 OCT 2014
SERIAL: 20-00000
WARRANTY: VOID
KEYS ACTIVATED:
BASIC FS700RAW CANONRAW
POWERED: 41 DAYS 19 HRS
RECORD: 9 DAYS 4 HRS
Displays critical specs of Odyssey7Q. Input voltage, Current wattage draw of Odyssey7Q
(varies with mode), current temperature of main processor. Tapping button brings up more
detailed information including the ABOUT menu of the Odyssey7Q.
The Odyssey7Q has a wide internal operating temperature window, up to 65° Celsius (149°
Fahrenheit). The Odyssey7Q uses its magnesium case to passively shed excess heat.
There are no vents or fans in the Odyssey7Q. Even under most harsh conditions, the
Odyssey7Q should not suffer any operational issues due to heat. However, if the internal
temperature of the Odyssey7Q rises high enough there are a series of warnings and
safeguards in place to protect the device and the recorded les.
TEMPERATURE WARNINGS AND SAFEGUARD
Temp System Status Text & Warning Operaonal Protecon
59° C Yellow text No change to operaon
61° C Red text & ashing warning New recordings prevented
65° C Red text & ashing warning Current recording stopped
The Odyssey7Q has a wide range of acceptable voltage for incoming power, from 6.5
volts to 34 volts. The total wattage draw from the Odyssey7Q varies depending on the
operational mode it is set to, but is always within a very modest range from less than 8
watts to no more than 15 watts. This allows a variety of battery options to be used with the
device. While there are le recovery parameters in place, it is never a good idea to lose
power while in the midst of recording. If the incoming voltage to the Odyssey7Q drops
low enough there are a series of warnings and safeguards in place to protect the device
and the recorded les.
LOW POWER WARNINGS & SAFEGUARDS
Voltage System Status Text & Warning Operaonal Protecon
6.7v Yellow text No change to operaon
6.5v Red text & ashing warning New recordings prevented
6.0v Red text & ashing warning Current recording stopped
CONTINUED »
23
Page 25
MENU SYSTEM
INPUT/OUTPUT STATUS (RECORD MODE ONLY)
29.97 4K
S-LOG2
Displays current video input signal type. Tapping button brings up detailed information
on Input and Output signals, record mode and frame rates.
INPUT CONTROL SETTINGS
VIDEO CADENCE:
This identies the cycling of the signal coming into the
Odyssey and how it is to be recorded.
AVAILABLE CADENCES:
PROGRESSIVE/PSF: For video signals structured as True
Progressive (p) or Progressive Segmented Frames (PSF).
INTERLACED: For HD video signals structured as
interlaced elds (i). Records a 1080i50 or 1080i60
video signal without alteraon. Note that some
cameras carry progressive video embedded within an
interlaced signal. See 3:2 Pulldown below.
REMOVE 3:2 PULLDOWN (TO 24P): For 24p video
signals striped within a 60i signal. Extracts the 24p
video, records it as 1080p24 and discards the excess
elds for greater eciency and smoother post.
TIMECODE SOURCE:
Allows selection for origination of timecode. Note that some
video sources do not carry timecode data and at high frame
rates some cameras do not generate timecode. In these
cases the Odyssey will generate a Record Run timecode
from its internal clock. LTC not supported when recording
ARRIRAW.
TEST PATTERN:
4K/2K VIEWING:
ANAMORPHIC DESQ:
AVAILABLE TIMECODE SOURCES
SDI/HDMI (embedded in incoming signal)
LTC (input from external source to LTC port)
TIME-OF-DAY NDF (Odyssey internal clock, non-drop
frame counng)
TIME-OF-DAY DF (Odyssey internal clock, drop frame
counng)
SEED/RECORD RUN (Set mecode counter, increments
while recording)
Displays reference image on OLED and video outputs.
Current available test pattern is SMPTE color bars.
Determines monitoring of 17:9 video signals on OLED and
video outputs.
AVAILABLE VIEWING OPTIONS
LETTERBOX 17:9: Shows full frame with black borders
above and below image. NOTE: Reducon of image
may cause aliasing in monitored image.
CENTER CUT 16:9: Shows center 16:9 poron of 17:9
frame.
Horizontally stretches image to correct for use of optical
anamorphic lenses. Does not effect recording. Options for
de-squeezing the image are OFF, 1.33x, 1.5x, and 2x.
CONTINUED »
24
Page 26
MENU SYSTEM
LEGALIZE HDMI:
Adjusts for incoming video signals that may extend beyond
the broadcast-legal range of 0-100 IRE.
OUTPUT CONTROL SETTINGS
The settings of the OUTPUTS menu allow adjustments to the video outputs of the
Odyssey7Q+. The OUTPUTS menu is accessed by tapping * then tapping OUTPUTS.
VIDEO PSF OUT:
RECORD TALLY:
CUSTOMIZE SDI A:
On/Off control to switch video outputs from True Progressive
(p) to Progressive Segmented Frames (psf) signal structure.
This improves compatibility with some third-party equipment.
On/Off control to activate Tally record status indicator over
SDI and HDMI outputs. Tally appears as colored bar at
bottom of image. Green Tally indicates ready to record and
Red Tally indicates recording in progress.
Allows for signal overlay onto SDI A OUT video.
LUT OFF sends out the video signal or representaon
of the RAW data signal with no alteraon.
LUT ON applies the LUT image adjustment as selected
in the LUT menu.
MIRROR OLED applies whatever overlays are present
on the OLED panel, including LUT and monitoring tools
acvated such as Waveform.
CUSTOMIZE SDI B:
Allows for signal overlay onto SDI B OUT video.
LUT OFF sends out the video signal or representaon
of the RAW data signal with no alteraon.
LUT ON applies the LUT image adjustment as selected
in the LUT menu.
MIRROR OLED applies whatever overlays are present
on the OLED panel, including LUT and monitoring tools
acvated such as Waveform.
CUSTOMIZE HDMI:
25
Allows for signal overlay onto HDMI OUT video.
LUT OFF sends out the video signal or representaon
of the RAW data signal with no alteraon.
LUT ON applies the LUT image adjustment as selected
in the LUT menu.
MIRROR OLED applies whatever overlays are present
on the OLED panel, including LUT and monitoring tools
acvated such as Waveform.
CONTINUED »
Page 27
MENU SYSTEM
RECORD STATUS (RECORD MODE ONLY)
4K->4K
PRORES
Displays current recording format. Tapping button brings up detailed information on
recording format and frame rates as well as controls for setting monitoring and recording
modes. If a rented Record Opon is in use, the remaining me is noted here.
MODE/RECORD OPTIONS
CAMERA:
Tapping status boxes brings up a list of selections for each.
Choice of CAMERA determines MONITOR -> RECORD
selections for that camera. CAMERA also determines
Trigger, Timecode and LUT integration.
AVAILABLE CAMERAS:
Sony FS7/FS700
Sony (F3, F5 and F55 and others)
Canon (C500 and others)
ARRI (ARRI Alexa)
POV RAW (IndieCam and IO Industries)
Other (sundry HD video sources)
Panasonic
RED
Mul-Stream (up to 4 HD video sources, monitoring
only)
MONITOR->RECORD
Displays options for the currently selected camera
(See the MONITOR-->RECORD OPTIONS chart in
APPENDIX (p59) (for full list of options in this menu
selection)
VIDEO CODEC
RECORD TRIGGER:
Displays current recording format. In compressed recording,
tap status box for list of options. Currently available
compressed video formats include Apple ProRes 422 (HQ),
Apple ProRes 422 and Apple ProRes 422 (LT).
Allows selection of record trigger mechanism for Odyssey7Q.
Note that some cameras do not output trigger signals over SDI
or HDMI.
AVAILABLE RECORD TRIGGERS
RECORD BUTTON (Tap Record Button on Upper Toolbar to
start/stop recording)
CAMERA (Use camera’s trigger to stop/start recording -trigger output must be enabled on camera)
TIMECODE (Use detection of timecode incrementing to start/
stop recording -- Odyssey7Q TIMECODE must be set to SDI/
HDMI or LTC and timecode source set to Record Run)
REMOTE (Use the Convergent Design Remote Trigger
accessory to start/stop recording. Currently only available for
HD Apple ProRes recording.)
CONTINUED »
26
Page 28
MENU SYSTEM
PROJECT RATE:
Determines playback frame rate from the SSDs. Note that
all incoming frames are always recorded, Project Rate
only determines the intended playback speed, which can
always be changed in post. The Project Rate can follow
the incoming source frame rate or be set to a specic rate
for faster or slower than real time playback.
FOLLOWS INPUT is the default setting, automatically
aligning to the incoming framerate at speeds 60p and
below. At higher incoming frame rates, 100/200p signals
have a default Project Rate of 25p and 120p/240p signals
default to 24p. This allows an even division of frames for
smooth playback.
AVAILABLE PROJECT RATES
FOLLOWS INPUT (default seng)
23.98 FPS
24.00 FPS
25.00 FPS
29.97 FPS
30.00 FPS
48.00 FPS
50.00 FPS
59.94 FPS
60.00 FPS
TRIGGER BUTTON (RECORD MODE ONLY)
Displays status of recording mode. When button is Red with a white circle it is ready to
record. When Gray there is no signal available to record. While recording, the button is
Blue with a white square and the background of the entire top menu is Red. If REC Button
is selected as the trigger then tapping button triggers record start/stop
SETUP
☼
»
or tap on Record Status »
RECORD TRIGGER:
»
SSD1 STATUS (ALL MODES)
02:12
Displays record time available given current settings (HH:MM). Tapping button brings up
detailed information on SSD1 status. Formatting and rebuilding options are also available
here.
SAFE EJECT (ALL MODES)
Prompts a conrmation to Safely Eject one or both of the SSDs. This is the proper method
for dismounting and ejecting SSDs so that the les and directories can be closed properly.
SSD2 STATUS (ALL MODES)
02:12
Displays record time available given current settings (HH:MM). Tapping button brings up
detailed information on SSD2 status. Formatting and rebuilding options are also available
here.
RECORD BUTTON
»
RECORD TRIGGER:
RECORD BUTTON
»
CONTINUED »
27
Page 29
MENU SYSTEM
REC/PLAY (ALL MODES)
Displays current status as to whether Odyssey7Q is in RECORD or PLAY mode. Tapping
button toggles between modes. NOTE: Playback Mode changes the upper and lower tool
bars. See Play Mode, below.
CLIP METADATA (ALL MODES)
CLIP0000
005_000
.MOV A
Displays current recording format. Tapping button brings up detailed information on
recording type and frame rates. If a rented Record Opon is in use, the remaining me
is noted here.
LAST TAKE BUTTON (RECORD MODE ONLY)
LAST TAKE
00:00:05
650 FRAMES
Displays timecode start and elapsed time of last recorded take. Tapping button brings up
detailed information of the last take recorded.
AUDIO (ALL MODES)
Displays audio levels. Tap button for Audio Display/Control settings.
AUDIO METERS SETTINGS
SHOW (display audio levels as BARS or numerical VALUES)
BAR COLORS (set yellow level to -20 or -18 dB)
METERS (turn ON or OFF audio levels display)
AUDIO OPTIONS
AUDIO CHANNELS:
AUDIO SOURCE:
Currently locked to two channels. Future rmware
updates will allow up to eight audio channels.
Allows selection of audio input source.
SDI/HDMI (embedded in incoming signal)
ANALOG (analog 2-channel input via AUD IN port)
Currently available only for HD Apple ProRes recording.
HEADPHONE OUT(dB):
ANALOG MIX IN:
ANLG GAIN IN(dB):
28
Volume adjustment of AUD OUT port.
For analog audio input via AUD IN port, select between
STEREO UNBALANCED (two discreet channels) or
MONO BALANCED (one source to record over both
channels).
Adjust analog audio input levels for AUD IN port.
CONTINUED »
Page 30
MENU SYSTEM
LOWER TOOL BAR (RECORD MODE)
In addition to being a high quality recorder of multiple formats, the Odyssey is also a full-featured
production monitor. The Lower Tool Bar activates and controls the monitoring tools and image analysis
functions.
OLED
OLED
OLED
GUIDE
GUIDE LUT FOCUS ZOOM
Tapping button brings up OLED monitor settings. Controls are for the Odyssey7Q+ OLED
panel only and will not affect the recorded signal or the signal from any of the device’s
outputs. The Odyssey7Q+ display is capable of presenting the full contrast and color
gamut of both the REC709 and DCI-P3 standards.
Assuming a standard, properly attenuated video signal from the camera source, the
display defaults are 100% for SATURATION, CONTRAST, BRIGHTNESS, Red/Green/
Blue GAINS and R/G/B BIASES. Adjustable ranges are 50%-140%. BASE standard is
Medium and COLOR GAMUT is REC.709. Unless otherwise noted, any standard video
source accepted by the Odyssey7Q+ should be a REC709-compliant signal, not DCI-P3,
which is for digital cinema displays.
ORIENTATION controls the vercal orientaon of the image on the OLED display.
TEST PATTERN replaces the video signal with SMPTE color bars. This is the only
control that also aects the video outputs.
MORE TOOLS alternates the buon on the Lower Tool Bar to the right of the
mecode display between the FALSE COLOR tool and the MONOCHROME DISPLAY
tool (for details see page 32).
00:12:16:72
FALSE
ZEBRA
WFM
HIST
HIDE
GUIDE
Tapping button activates Frame Guides. Holding button brings up the Frame Guides
settings. Presets available are 1.33:1, 1.85:1 and 2.39:1. Press CREATE CUSTOM
GUIDE to bring up the Custom Guide menu. Name and save up to four custom frame
guides. Left/Right control sets frame sides. Top/Bottom control sets frame lids. Linking
adjusts Left/Right or Top/Bottom together. Rectangle eliminates lines outside inner box.
Select colors between White | Black | Red | Green | Blue | Yellow. Up to four custom frame
guides plus one preset frame guide can be displayed at the same time.
CONTINUED »
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MENU SYSTEM
LUT
LUT
Tapping button activates the chosen LUT on the OLED display. Holding button brings up
the LUT menu.
A Look Up Table (LUT) is a set of exposure, contrast and color offsets to adjust an image.
Originally designed as a tool to indicate on one display how an image would appear on
a different type of display, LUTs have expanded to also become tools to preview color
grading decisions. The Odyssey7Q+ includes numerous 3D-LUTs for previewing the LOG
video outputs of several popular cameras in standard REC709 contrast and color. The
RAW record options also feature monitoring LUTs.
SELECTING LUTS
Holding LUT button brings up the LUT menu. LUTS can be selected from an SSD, the
PRESET LUTS folder, or one of three custom LUT folders (for details see below). A list
of available LUTs from each source will appear in the menu and a LUT can be selected
by tapping on it. Additional LUTs can also be downloaded from the Convergent Design
website.
ROUTING LUTS
Once a LUT is selected, it can be output to various locations. Tapping LUT button activates
the LUT on the OLED display. In the LUT menu, CUSTOMIZE OUTPUTS brings up the
LUT routing controls. SDI A OUT, SDI B OUT and HDMI OUT can be individually addressed
for LUT output, as can the MONITORING TOOLS.
LUT OFF sends out the video signal or representaon of the RAW data signal with no
alteraon.
LUT ON applies the LUT image adjustment as selected in the LUT menu.
MIRROR OLED applies whatever overlays are present on the OLED panel, including
LUT and monitoring tools acvated such as Waveform.
This means that the Monitoring Tools (False Color, Monochrome, Zebras, Waveform,
Histogram) can always read the original input signal (LUT OFF), always read the LUTted
image (LUT ON), or switch between them depending on what is displayed on the OLED
(MIRROR OLED). A green bar connects the buttons for the monitoring tools to indicate
when they are reading the LUTted image.
Likewise, the individual video outputs can always display the original image (LUT OFF),
always display a LUTted image (LUT ON), or mimic whatever is displayed on the OLED,
including the overlay of the monitoring tool on the image (MIRROR OLED).
In a future free rmware update, it will also be possible to choose to record video les to
the SSD with a LUT applied.
CUSTOM LUTS
The Odyssey7Q+ also supports custom 3D-LUTs imported into the device. Standard .cube
(aka Image Cube) les are supported in 17x17x17, 33x33x3 and 65x65x65 bit depths.
These can commonly be generated in programs such as Resolve or Pomfort LiveGrade.
LOADING CUSTOM LUTS
LUTs must be saved on a computer and then imported into the CD LUT Utility (available for
download on the Convergent Design website) for translation into the Odyssey LUT format.
Load LUTs onto an Odyssey SSD or Utility Drive and mount in the Odyssey7Q+. Select
IMPORT FROM SSD in the LUT menu to read SSD for LUTs. LUTs can be PREVIEWED
by tapping on individual le name, but a destination folder must be selected in order to load
LUTs onto the Odyssey7Q+. There are three folders for imported LUTs and up to 150 LUTs
can be stored within them.
CONTINUED »
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MENU SYSTEM
LUT RANGE
A signal can exist in a video brightness range from 0 to 100% or in a data range from -7 to
109%. In a data format this can be represented in bit values between 64-940 or 0-1023,
and are sometimes (but not always) indicated with an EE or an LL notation). These ranges
are referred to as Extended or Legal, and a LUT can be based off of either range. The LUT
RANGE control allows the selection of either EXTENDED or LEGAL so that the applied
LUT matches what was intended when the LUT was created.
METADATA
Tapping the METADATA button opens the LUT FILE METADATA menu. For each LUT, a
Project or camera can be marked, and a notes eld is also available.
MANAGE LUTS
Tapping the MANAGE LUTS button opens the LUT Management menu. Custom LUTs can
be deleted from the folders and folders can be renamed.
FOCUS
FOCUS
ZOOM
ZOOM
Tapping button activates Focus Assist. Holding button brings up the Focus Assist settings.
There are three styles of Focus Assist available.
PEAKING
Edge detection based on contrast, with variable sensitivity. Image can be displayed with
edges highlighted in red, green, blue, black white or yellow. Or only detected edges can
be displayed as white, with other image elements in black.
REVEAL
A more aggressive, complex focus detection system. Sharper objects highlighted, with
a variable sensitivity control. Can be combined with Peaking under that control’s menu.
ENHANCE
Simple edge enhancement display. Allows for easier judging of focus by articially
augmenting sharpness on the OLED display.
Pixel Zoom enlarges a section of the image on the OLED panel to better judge focus and
other aspects of the image. The native resolution of the HD image area on the OLED panel
is 1280x720. Pushing the Pixel Zoom button once enlarges the image to t a 1280x720
window within an HD 1920x1080 frame. Pushing the Pixel Zoom button again enlarges the
image so that a 1280x720 window is cut from that native resolution of the image if greater
than HD (ie, 1280x720 window within 4096x2160) or doubles up pixels to make the image
larger in an HD frame.
The Odyssey Pixel Zoom offers the unique function of allowing the enlarged window
to be moved within the image frame simply by dragging a nger or stylus on the OLED
screen. The movement can be selected to follow move (drag image) or oppose move (drag
window).
Tap anywhere inside the ZOOM area box to center the image. Coordinates are remembered
until powered off.
CONTINUED »
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MENU SYSTEM
TIMECODE
00:12:16:04
FALSE COLOR
FALSE
At the center of the Lower Tool Bar is a counter displaying timecode.
This counter displays hours, minutes, seconds and frames in the format 00:00:00:00.
Tapping button activates False Color. Holding button brings up False Color settings.
False Color is an exposure reference tool, attributing different colors to various brightness
portions of the image. Available colors are Red, Yellow, Pink, Green, Blue and Purple. A
video signal is measured in a scale from -7 to 109, often marked as a % or with the sufx
IRE.
Brightness range for each color can be individually selected with a high and low setting or
that color can be switched off. Ranges can overlap, and any exposure value not selected
will be indicated in a monochrome brightness. There is a reference bar at the bottom of the
image indicating the exposure range each color represents.
TOOLS: LUT OPTIONS
The False Color tool can be set to measure the source video signal or the video with a
LUT applied to it. This is a replication of a control in the LUT menu and adjusting it affects
all Monitoring Tools. The Monitoring Tools (False Color, Monochrome, Zebras, Waveform,
Histogram) can always read the original input signal (LUT OFF), always read the LUTted
image (LUT ON), or switch between them depending on what is displayed on the OLED
(MIRROR OLED). A green bar connects the buttons for the monitoring tools to indicate
when they are reading the LUTted image.
MORE TOOLS
MONOCHROME
FALSE
This setting alternates the button on the Lower Tool Bar to the right of the timecode display
between the FALSE COLOR tool and the MONOCHROME DISPLAY tool.
Tapping button activates Monochrome. Holding button brings up the Monochrome
settings. Monochrome represents the individual color channels (Red/Green/Blue) or the
overall brightness (Luma) in a gray scale image.
TOOLS: LUT OPTIONS
The Monochrome tool can be set to measure the source video signal or the video with a
LUT applied to it. This is a replication of a control in the LUT menu and adjusting it affects
all Monitoring Tools. The Monitoring Tools (False Color, Monochrome, Zebras, Waveform,
Histogram) can always read the original input signal (LUT OFF), always read the LUTted
image (LUT ON), or switch between them depending on what is displayed on the OLED
(MIRROR OLED). A green bar connects the buttons for the monitoring tools to indicate
when they are reading the LUTted image.
MORE TOOLS
This setting alternates the button on the Lower Tool Bar to the right of the timecode display
between the FALSE COLOR tool and the MONOCHROME DISPLAY tool.
CONTINUED »
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MENU SYSTEM
ZEBRA
ZEBRA
WAVEFORM
WFM
Tapping button activates Zebras. Holding button opens Zebras settings. A Zebra stripe
(/////) is an exposure tool to indicate any part of the image that is at a particular brightness.
There are two Zebra stripe patterns, ///// and \\\\\. Each Zebra pattern can be represented
in Black, White, Red, Green, Blue, Yellow, Cyan, or Magenta colored stripes, and the
underlying image is visible in between the stripe lines. Brightness range for each Zebra
pattern can be individually selected with a high and low setting or that Zebra pattern can be
switched off. Ranges can overlap, and any exposure value not selected will be represented
as it appears in the underlying image.. There is a reference bar at the bottom of the image
indicating the exposure range each Zebra pattern represents.
TOOLS: LUT OPTIONS
The Zebras tool can be set to measure the source video signal or the video with a LUT
applied to it. This is a replication of a control in the LUT menu and adjusting it affects all
Monitoring Tools. The Monitoring Tools (False Color, Monochrome, Zebras, Waveform,
Histogram) can always read the original input signal (LUT OFF), always read the LUTted
image (LUT ON), or switch between them depending on what is displayed on the OLED
(MIRROR OLED). A green bar connects the buttons for the monitoring tools to indicate
when they are reading the LUTted image.
Tapping button activates Waveform. Holding button brings up Waveform settings. A
Waveform is an exposure tool used for measuring the brightness of the image throughout
the frame. It can be set for overall brightness (Luma), with the three color channels
separated (RGB Parade), or as the individual color channels only (Red, Green, or Blue).
The Waveform display aligns left-right to the image on the OLED display. In Multi-Stream
mode, if two images are displayed side-by-side then the Waveform can be used to compare
the signals.
The Waveform can be displayed across the majority of the OLED screen or in the lower
right corner. In the large display, the RGB Parade shows three individual waveforms sideby-side in their appropriate colors, while in the small display the three colors overlap. The
Waveform background can be switched between translucent and opaque to allow the video
image to be visible behind the Waveform display for reference. A graticule overlay indicates
exposure value references in 10% increments in the large display and 20% increments in
the small display, both with an additional reference for 109%. The full range displayed is
from -7% to 109%.
TOOLS: LUT OPTIONS
The Waveform tool can be set to measure the source video signal or the video with a LUT
applied to it. This is a replication of a control in the LUT menu and adjusting it affects all
Monitoring Tools. The Monitoring Tools (False Color, Monochrome, Zebras, Waveform,
Histogram) can always read the original input signal (LUT OFF), always read the LUTted
image (LUT ON), or switch between them depending on what is displayed on the OLED
(MIRROR OLED). A green bar connects the buttons for the monitoring tools to indicate
when they are reading the LUTted image.
CONTINUED »
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MENU SYSTEM
HISTOGRAM
HIST
Tapping button activates Histogram. Holding button brings up Histogram settings. A
Histogram is an exposure tool indicating brightness by volume of image across a horizontal
plane. The brighter the image the farther it is to the right. The more of an image registering
at a particular brightness the taller the line graph at that brightness. It can be set for
overall brightness (Luma), with the three color channels separated (RGB Parade), or as
the individual color channels only (Red, Green, or Blue).
The Histogram can be displayed across the majority of the OLED screen or in the lower
right corner. In the large display, the Histogram can display Luma, RGB Parade (as color
overlaps), or the individual color channels (Red, Green, or Blue). In the small display Luma
and RBG Parade (overlap) can be displayed. On the large display, graticules indicates
exposure value references in 10% increments with an additional reference for 109%. The
full range displayed is from -7% to 109%.
TOOLS: LUT OPTIONS
The Histogram tool can be set to measure the source video signal or the video with a LUT
applied to it. This is a replication of a control in the LUT menu and adjusting it affects all
Monitoring Tools. The Monitoring Tools (False Color, Monochrome, Zebras, Waveform,
Histogram) can always read the original input signal (LUT OFF), always read the LUTted
image (LUT ON), or switch between them depending on what is displayed on the OLED
(MIRROR OLED). A green bar connects the buttons for the monitoring tools to indicate
when they are reading the LUTted image.
HIDE (HIDE MENUS & SCREEN OVERLAYS/ VIDEO)
HIDE
While the Odyssey’s OLED screen provides an excellent image with intuitive touch screen
controls and information displays, sometimes one does not want to see it all. The Hide
function can be set to make either the controls & displays disappear or the video image go
black. A tap anywhere on the screen brings the full display back.
CONTINUED »
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MENU SYSTEM
UPPER TOOL BAR (PLAY MODE)
1
☼
MENU BUTTON
2
SYSTEM STATUS
3
MARKER CONTROLS (PLAY MODE ONLY)
4
SSD1 STATUS
5
SSD SAFE EJECT
6
SSD2 STATUS
7
8
9
10
MARKER CONTROLS (PLAY MODE ONLY)
MARK
CLIP
MARK
CLIP
<PREV
▲ ►◄
MARKERS:
<ENTER CLIP
NOTES HERE>
GOOD
NEXT>
BAD
Clip Notes such as “Good Take” can be made for each clip. Text
plus Good or Bad notes.Markers are agged reference points within
a le. Single ags as well as in/out points can be marked. Used in
conjunction with the Convergent Design Apple ProRes Transfer Utility
(1.4 or above) markers are translated into Final Cut 7 and FCPX
.XML les. These can be imported into Final Cut 7, FCPX and Adobe
Premiere. Up to 16 In and 16 Out points can be marked in a single
clip, but more than one pair of In and Out points can only be read by
FCPX.
INPUT-OUTPUT STATUS
29PSF
4:2:2
Displays current SDI/HDMI output status and settings. Tapping button brings up detailed
information on the Input/Output Status and allows selection of input and output settings.
Replicaon of INPUT/OUTPUT STATUS buon from RECORD mode (for details see page
24).
REC/PLAY TOGGLE
CLIP METADATA
PLAYLIST
AUDIO
PLAYLIST (PLAY MODE ONLY)
PLAY SINGLE
65007090232
FRAME 240
Tapping button displays a list of recorded les. Files can be selected for playback and can
be continuously played back in a Loop.
CONTINUED »
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MENU SYSTEM
LOWER TOOL BAR (PLAY MODE)
A different tool bar will appear at the bottom of the screen in Play Mode.
TOOLS
TOOLS/SCRUB BUTTONS (PLAY MODE ONLY)
<STEP ► STEP> NEXT>
00:12:16:72
05:59 | 14:55
TOOLS
SCRUB
Toggles Lower Tool Bar between PLAYBACK CONTROLS and IMAGE ANALYSIS TOOLS.
For information on TOOLS, please see LOWER TOOL BAR (RECORD MODE) on p. 28.
PLAYBACK CONTROLS (PLAY MODE ONLY)
<PREV
...
Playback controls are activated when TOOLS is selected. There are ve deck-style play
controls. <PREV and NEXT> skip to the previous or next le in a selected playlist.
<STEP and STEP> move a paused video le to the previous or next frame. ►& || toggle
between play and pause.
TIMECODE (ALL MODES)
00:12:16:04
At the center of the Lower Tool Bar is a counter displaying timecode. This counter displays
hours, minutes, seconds and frames in the format 00:00:00:00.
SCRUB BAR (PLAY MODE ONLY)
Activated by toggling the TOOLS/SCRUB Button. The lower right tool bar is a bar that represents the full video le. The
number on the left notes the time within the video le currently cued. The number on the right indicates the total time
of the clip. A vertical line graphically represents the cue point within the le.
05:59 | 14:55
Drag a nger across the bar to move through the le. A nger dragged on the video image area itself is a more netuned control. To play the le from the selected point, use the deck controls.
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WORKING WITH MEDIA
RECORDING TO SSD MEDIA
The SSDs will automatically Span from SSD1 to SSD2. This means that if a le is recording to SSD1 and
lls the available memory, the recording will continue uninterrupted on SSD2. The exception to this is
when recording in a high data rate mode that requires both SSDs to be recorded to simultaneously, such
as FS700 Record Option, 2K RAW @ 240fps. For more information on record times and SSD capacity,
see Record Time Capacities. A future free rmware update will also allow the option of simultaneous dual
recording, in which both SSDs record identical les for backup purposes.
LOSS OF POWER DURING A RECORD
You should never power off the camera while recording. Many camera’s including the ALEXA, disable
the user from doing so while recording. Included in the Odyssey is a recovery mechanism. In case of
power loss, you may lose the last few frames of the recording, but not the entire last take. You will receive
several error messages due to the loss of source. If the unit fails to close the last clip and return to normal
operation once the source has returned, you will need to remove the power from the unit, then re-power
the unit.
After any failure of this type, the device will automatically mark the SSDs as full, once power is restored to
the unit. You will need to ofoad the footage before you will be able to continue recording in order to help
ensure proper recovery of the previous recordings.
DOWNLOADING MEDIA
Always make sure to properly Safe Eject to dismount SSDs before removing from Odyssey.
While the Odyssey7Q drives are exclusive Convergent Design products, they utilize a standard 2.5” SATA
interface. No expensive proprietary download stations are required. Consumer card adapters such as
Seagate GoFlex adapters (see Third Party Accessories in this manual) are available with Thunderbolt or
USB 3.0 interface. Thunderbolt is fastest and USB 3.0 is most common and self-powering. Firewire 800
is not recommended as it will take a very long time to download les.
Convergent Design offers a USB 3.0 SSD Adapter (CD-SSD-USB3) through authorized dealers
and distributors. This device allows you to access les on the Convergent Design SSDs on any
computer with a USB 3.0 or USB 2.0 port. (Please note that USB 2.0 ports have much slower
data transfer rates.)
CONTINUED »
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WORKING WITH MEDIA
FILE STORAGE
The Odyssey SSDs support read rates of 500 Mbytes/sec. Keep in mind you will be limited by the slowest
median in the transfer process. For example: eSATA 3GBps interface cards have a max performance of
~270Mbps, and eSATA 1.5GBps have a max performance of ~130Mbps. Typical Hard Drives (non-RAID)
generally perform anywhere in the range of 80-130MbpsFor maximum performance, make sure you are
using eSATA 6 GBps, USB 3.0 or Thunderbolt to a RAID conguration.
Video Format Video Data Rate
ARRI/2K/1080p24 4:4:4 10-Bit DPX 186.6 MB/Sec. 300
1080p25 4:4:4 10-Bit 194.4 MB/Sec. 300
1080p30 4:4:4 10-Bit 233.3 MB/Sec. 400
1080p50 10-Bit 400 MB/Sec. 600
1080p60 10-Bit 500 MB/Sec. 600
HD Compressed Apple ProRes 422 30MB/Sec. 100
2K RAW 23.98-120 500 MB/Sec. 600
4K RAW 23.98-29.97 500 MB/Sec. 600
4K RAW 50/60p 2K 200/240p 850 MB/Sec. 1000
Suggested RAID Conguraon
Real Time Playback/Edit
NEXT: SOFTWARE UTILITIES »
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SOFTWARE UTILITIES
Convergent Design has three free le utility programs, CD transfer, CD clip Merger and CD ProRes
Transfer Tool, available for download for both Mac & PC on our website.
https://convergent-design.com/support/rmware-downloads/software-utilities.html
CD DATA UNPACKER
Higher frame rate 8-12-bit (1920x1080, 2048x1080) DPX les are recorded in “Packed” les. CD Data
Unpacker Utility copies and converts 1080p/59.94 and 1080p/60 DPX les and clips. The DPX les are
converted from a “Packed” to “Unpacked” data format. Other DPX frame rates and other les formats do
not need unpacking.
CD CLIP MERGER
Some high data rate formats need to be striped (aka RAIDed) across two SSDs when recording in the
Odyssey7Q. After ofoading these le folders onto a local drive on a computer, CD Clip Merger combines
matching RAIDed folders into single le folders.
Odyssey7Q RAIDed recording formats include ARRIRAW 4:3 @ 48fps and Sony FS700 2K RAW @
200fps and 240fps.
BASIC INSTRUCTIONS FOR USING CD CLIP MERGER SOFTWARE
1. Create a folder to hold your footage on our Hard Disk Drive or Raid System, giving it a
name meaningful to you, such as “Project Name - Camera A - 2013-09-12”
2. Open the }CLIPS{_Odyssey7Q folder on your rst SSD and copy all of the folders to the
folder created in Step 1. Do not copy the folder itself, copy the contents of the folder.
3. Open the }CLIPS{_Odyssey7Q folder on your second SSD and copy all of the folders
to the folder created in Step 1. Do not copy the folder itself, copy the contents of the
folder.
4. Run the CD Clip Merger Program.
Additional instructions are available in the “Readme” le included in the download.
CONTINUED »
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SOFTWARE UTILITIES
CD APPLE PRORES TRANSFER UTILITY
Copies Apple ProRes les recorded on the Odyssey and merges les within each clip. Also optimizes
Apple ProRes clips for playback and editing. Version 1.5 supports Markers and Clip Notes functions in
PLAY Mode. Markers and Notes are exported to a Final Cut XML le for FCP7, FCPX, Adobe Premiere
and Resolve 10 & 11.
Note: While not required, ooading les from SSDs using this tool is a more ecient workow than other
methods.
INSTALLATION INSTRUCTIONS
1. Download the CD Apple ProRes Transfer Tool 1.5 installation les from the Convergent
Design website on the SOFTWARE/UTILITIES page at Convergent-Design.com/
support/rmware-downloads/software-utilities.html
2. Uncompress the zip le and open up the ProRes Transfer folder.
3. Run the ProResTransfer.jar application.
Note: The ProRes Transfer Tool uses Java. Mac users need to download and install Java JRE 1.6 from the Apple
website here: hp://support.apple.com/kb/DL1572
NEW FEATURES FOR CD PRORES TRANSFER UTILITY 1.5
• Support for 47.95p and 48p les
• Ability for user to change Project Rate during .mov le transfer. Files default to recorded rate.
• Markers expanded to include Clip Notes and Good/Bad notation.
NOTES ABOUT VERSION 1.4.4
• FCP X, x for 4k and UHD. Minor issue with the format string used in the import.
• FCP X, Added an Out marker to clarify the IN-OUT duration.
• FCP X, Made IN markers “green”, Out makers “red”, and Markers “blue” by using different marker
states.
• Updated the doc to reect the above changes.
NOTES ABOUT VERSION 1.4.2
• FCP 7 - Project, Bin, and Sequence removed. Just bare movies are imported in selected project.
• Added elements so you don’t see the import pop up
• FCP X - Changed project/event name to clip name
Added project name to note
• FCP 7 - Project, Bin, and Sequence removed. Just bare movies are imported in selected project.
• Added elements so you don’t see the import pop up
• FCP X - Changed project/event name to clip name
• Added project name to note
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POST PRODUCTION
WORKING WITH RECORDED FILES
There are numerous post systems and NLEs that can read natively the various le formats recorded by
the Odyssey. Some NLEs may require plug-ins in order to read certain le formats. Blackmagic Design
Resolve software is available for free and can read all formats recorded by the Odyssey.
FILE STRUCTURE
UNCOMPRESSED SUPPORT (DPX SEQUENCE)
All Uncompressed recording on the Odyssey is recorded as 10 bit RGB 4:4:4 DPX, this is for all sources
regardless if the source is 8 bit, 10 bit, 4:2:2, 4:4:4. With 12 bit camera’s the les are recorded as a 16 bit
DPX, for more universal compatibility. Also note that with DPX les timecode, and Clip Metadata is stored
in every frame, as well as in the XML le within each clip. All audio is recorded 48Hz 16 bit Uncompressed
WAV audio.
Also Note 1080p59.94/60p, 1080p119/120 and 12 bit les are recorded as Packed, so our CD unpacker
utility will need to be used before the les can be used in any editor.
NATIVE 10-BIT / 16-BIT DPX SUPPORT
Adobe CS6 / Adobe CSCC/2014
Apple Color
AutoDesk Smoke
Assimilate Scratch Lab
Avid DS
PLUGINS FOR DPX SUPPORT
Glue Tools
Apple FCP Pro
Apple FCP Pro X
Meta Fuse
Avid Media Composer
Black Magic DaVinci Resolve
Cineform Studio
ColorFront OnSet Dailies
DJViewer
Eyeon Fusion
Grass Valley Eduis (Does not support 16-Bit)
The Foundry Nuke
Xnview(Does not support 16-Bit)
CONTINUED »
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POST PRODUCTION
Apple ProRes
The Odyssey can record in Apple ProRes 422 (HQ), Apple ProRes 422 and Apple ProRes 422 (LT)
compressed codecs. This allows for high quality recording while avoiding high data rates of working with
uncompressed video.
PRORES 422 (HQ)
PRORES 422
PRORES 422 (LT)
The Apple ProRes 422 (HQ) codec oers the utmost possible quality for 4:2:2 or 4:2:0 sources
(without an alpha channel) and provides the following:
• Target data rate of approximately 220 Mbps (1920 x 1080 at 60i)
• Higher quality than Apple ProRes 422
The Apple ProRes 422 codec provides the following:
• Target data rate of approximately 145 Mbps (1920 x 1080 at 60i)
• Higher quality than Apple ProRes 422 (LT)
The Apple ProRes 422 (LT) codec provides the following:
• Roughly 70 percent of the data rate of Apple ProRes 422 (smaller le sizes than ProRes 422)
• Higher quality than Apple ProRes 422 (Proxy)
NATIVE APPLE PRORES SUPPORT
Adobe CC 2014*
Apple FCP X, Aperture
Cineform Studio
Final Cut Pro 7
Black Magic DaVinci Resolve
The Foundry Nuke
Autodesk Smoke
Sony Vegas
CONTINUED »
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POST PRODUCTION
FS700 RAW SUPPORT (DNG SEQUENCES)
All FS700 RAW recording on the Odyssey7Q is recorded as a 12-bit linear CinemaDNG le. With DNG
les, timecode and clip metadata is stored in every frame, as well as in the XML le within each clip. All
audio is recorded 48Hz 16 bit Uncompressed WAV audio.
It is important to correctly set the white balance of the camera, as this is baked into the RAW
le.
NATIVE CINEMADNG SUPPORT
Adobe CC 2014*
Apple FCP X, Aperture
*Pending next Adobe CC update.
FS700 RAW: DEALING WITH RAW FILES
Note that FS700 RAW les are Linear, thus the les need a Gamma 2.2 correction in order to look correct.
You may notice when you rst import your les that they appear very dark before correction.
FS700 DAVINCI RESOLVE IMPORT SETTINGS
Assimilate Scratch Lab (future update)
Black Magic DaVinci Resolve
1. Right click on the le and select “Edit CinemaDNG Codec Settings”
2. Then under the CAMERA RAW select be sure CinemaDNG is selected from the drop
down menu.
3. Set the Decode using method to CinemaDNG Default* (Also be sure your project is
setup correctly)
4. Set the White Balance to As Shot
5. Set the Color Space to Rec709
6. Set the Gamma to Rec709
7. Leave Highlight Recovery off
8. Click Apply
The Media Pool Camera RAW settings are the same as the ones in the color page and these are designed
for individual clip adjustment so its better to rst set the ‘Project Settings’, ‘Camera RAW’ as you need for
the whole project.
Select ‘Project Settings’, ‘Camera RAW’, ‘CinemaDNG’ and make sure the ‘Decode using’ is set to either
‘CinemaDNG Default’ or “Camera Metadata’
The “Camera Metadata’ is the default and the best place to start if you need to change an individual clip
with camera RAW.
The Media Pool settings are helpful if you have a mix of different clip types, you can sort by codec, select
a group and adjust.
For your convenience, Convergent Design has generated several example LUTs that can be applied to
your RAW footage. Keep in mind these LUTs are an approximation, and may need adjustment depending
on your application.
These LUTs are available in the Firmware/Downloads section of the Convergent Design website.
*Also note that using camera metadata or CinemaDNG default is also supported.
CONTINUED »
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POST PRODUCTION
TO LOAD 3D LUTS INTO DAVINCI RESOLVE
1. Select the Project Settings wheel, and navigate to Look Up Tables
2. Select Open LUT Folder, and copy the included example LUTs into this folder.
3. Now Select Update Lists
4. Now in the Media Browser you can right click on your RAW le and select 3D LUT and
select the LUT you wish to apply from the list.
Note the following about each CD example LUT, and you should adjust the LUT based on your
application.
FS700_1.11.100_SLOG.CUBE
This LUT can be applied to view a simulated S-Log2 look based on the RAW recording with the S-Log2
picture prole, also note the image should closely match the internal media.
FS700 FCP X IMPORT SETTINGS
Once you have created a new project be sure to check the following Settings:
1. Under Final Cut Pro select Preferences
2. Be sure the Still Images editing duration is set to 0.0.1 Seconds
3. Select navigate to File and select Import Media
4. Navigate to the Clips directory, and select the Clip Folder contain your FS700 RAW les.
5. At this point you can start correcting the les to a 2.2 Gamma using the Color Board.
* Note if you are recording the internal media you can import the matching S-Log2 le, and
select Match Color for a close approximation of S-Log2, but will most likely need additional
tweaking.
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POST PRODUCTION
CANON C500 4K RAW SUPPORT
All Canon C500 4K recording on the Odyssey is recorded as 10 bit Cinema RAW le.
Also note that with RMF les timecode, and Clip Metadata is stored in every frame, as well as in the XML
le within each clip. All audio is recorded 48Hz 32 bit Uncompressed WAV audio.
It is important to correctly set the white balance of the camera, as this is baked into the RAW le.
NATIVE CINEMA RAW SUPPORT
Assimilate Scratch Lab
Adobe CC 2014
ARRI ALEXA ARRIRAW SUPPORT
All ARRI Alexa ARRIRAW recordings on the Odyssey are recorded as 12 bit ARRIRAW le, also NOTE
that with ari les Timecode, and Clip Metadata is stored in every frame, as well as in the XML le within
each clip. All audio is recorded 48Hz 16 bit uncompressed wAV audio.
NATIVE ARRIRAW SUPPORT
Adobe CS6 / Adobe CSCC 2014
AutoDesk Smoke
Assimilate Scratch Lab
Black Magic DaVinci Resolve Canon Cinema RAW Development
Black Magic DaVinci Resolve
Cineform Studio
Eyeon Fusion
The Foundry Nuke
ColorFront OnSet Dailies
For a more extensive list on ARRIRAW and workow please visit ARRI’s website at:
http://www.arri.com/camera/digital_cameras/workow/working_with_arriRAW/recording/
arriRAW_t_link/
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ACCESSORIES
CONVERGENT DESIGN ACCESSORIES
All Convergent Design products are available through our worldwide dealer network. Visit Convergent-
Design.com/dealers to nd our nearest authorized dealer
POWER SUPPLY OPTIONS
The Odyssey can accept DC power ranging from 6.5-34v. This means that small camcorder batteries,
large camera bricks and even large block batteries or belts can be used to power the device. Depending
on monitor and record modes, the power draw from the Odyssey can range from 8-15w. Even small
camcorder batteries can power the Odyssey for several hours.
The Odyssey is supplied with a Convergent Design AC power supply. This is a universal switching
power supply that can be used throughout the world, and comes complete with several interchangeable
plug connectors. Only use a Convergent Design AC power supply on the Odyssey.
Odyssey Replacement AC Power Supply CD-OD-AC-PS
The Odyssey uses a Neutrik 3-pin connector for power input. Convergent Design has modied this
connector for reliability, strength, and protection from shorting. Convergent Design supplies cables
to 3rd party manufacturers of battery plates and other Odyssey accessories.
ONLY USE A CONVERGENT DESIGN POWER CABLE ON THE ODYSSEY.
OPTIONAL POWER CABLES
Anton Bauer D-Tap 12v power cable to Odyssey (18”) CD-OD-DTAP
XLR-4 (generic 12v) power cable to Odyssey (18”) CD-OD-XLR
Fischer-3 (ARRI 24v) power cable to Odyssey (18”) CD-OD-Fischer
Flying lead (bare wire pigtail) power cable to Odyssey (36”) CD-OD-Flying
http://convergent-design.com/products/accessories.html
BATTERY PLATE OPTIONS
Convergent Design offers a series of rear plates for the Odyssey that accept various manufacturers’
small camcorder batteries.
Odyssey battery plate for SONY L-Series batteries CD-OD-SLPlate
Odyssey battery plate for SONY U-Series batteries CD-OD-SUPlate
Odyssey battery plate for Canon BP-9x Series batteries CD-OD-CBPlate
Odyssey battery plate for Panasonic CGA-Series batteries CD-OD-PCGAplate
Odyssey battery plate for JVC Camcorder-style batteries CD-OD-JVCplate
http://convergent-design.com/products/accessories.html
CONTINUED »
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ACCESSORIES
TERADEK BATTERY PLATES
Convergent Design also makes battery plates that can also hold and power a pair of Teradek Bolt
video receivers along with the Odyssey. Two camcorder batteries (one for the Odyssey, one for the
Teradeks) are used or a single large battery. These plates are shipped in kits that include short SDI
cables and power cables for the Odyssey and Teradeks.
Teradek battery plate for 2x Sony L-Series batteries CD-OD-BOLT-SLPLATE
Teradek battery plate for 2x Sony U-Series batteries CD-OD-BOLT-SUPLATE
Teradek battery plate for 2x Canon BP-9x Series batteries CD-OD-BOLT-CBPLATE
Teradek battery plate for 2x Panasonic CGA-Series batteries CD-OD-BOLT-PCGAPLATE
Teradek battery plate for IDX V-mount batteries CD-OD-BOLT-IDXPLATE
Teradek battery plate for Anton Bauer 3-stud batteries CD-OD-BOLT-ABPLATE
http://convergent-design.com/accessories/50-teradek-battery-plate-kit.html
ODYSSEY SUN HOOD
The Convergent Design Odyssey Hood is a sturdy, but exible three-sided sunshade specically
designed for the Odyssey. The hood attaches to the side 1/4-20 mount sockets on the Odyssey.
If there is another item such as a mount that uses these side sockets, the Odyssey Hood’s bolts
can be removed and the other item’s bolts can be passed through the Hood into the Odyssey. The
Odyssey Hood folds at for storage and can rest atop the Odyssey within the Odyssey Case. When
the Hood is folded the mounting bolts do not protrude long enough to make contact with any surface,
so as not to scratch the Odyssey screen in transport.
Odyssey Sun HOOD CD-OD-HOOD
http://convergent-design.com/accessories/88-odyssey7-7q-sun-hood.html
ODYSSEY ALUMINUM TABLE STAND
The Convergent Design Odyssey Aluminum Table Stand attaches to the Odyssey. While only ve
ounces, it is tall enough to protect the cables and connectors attached to the bottom of an Odyssey.
The design tilts back the screen for comfortable viewing while also centering the weight over the
stand for balance.
The stand can support an Odyssey alone or with any Convergent Design battery mount with full
clearance and stability. There is also a standard 5/8” socket with tie-down bolt to mount the stand
onto a standard light stand or baby pin. The stand also functions as a “chest offset” when an
Odyssey is worn with a neck strap so the operator doesn’t have to look uncomfortably straight down.
Odyssey Aluminum Table Stand CD-OD-AL-TS
http://convergent-design.com/accessories/36-odyssey7-7q-aluminum-table-stand.html
CONTINUED »
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ACCESSORIES
ODYSSEY PROTECTIVE CASE
The Convergent Design Odyssey Case is based on a Nanuk 910 case with custom foam insert. The
use of precision-cut rigid foam means less is needed for protecting the gear The main cutout for an
Odyssey includes removable layers of rigid foam to allow the Odyssey to t snugly when bare or
with a variety of battery plates and 3rd party accessory mounts. This includes all Convergent Design
mounting plates, including the Teradek Bolt Adapter Plate, complete with wireless receivers mounted
and all cables plugged in. An additional cutout is large enough to hold SSDs, cables, USB adapter,
batteries, Teradek Bolt transmitters, etc.
Odyssey Protective Case CD-OD-CASE
http://convergent-design.com/accessories/37-odyssey-case.html
ODYSSEY ULTRA-THIN SDI CABLE
The Odyssey Ultra-Thin SDI Cable is a exible and lightweight cable for use with the Odyssey. The
SDI cable is rated for 3G signals and is useful in camera-mounted installations where its thinness
and exibility will help keep it out of the way for operators. Despite its small size, the SDI Cable is
quite rugged and can even be tied in knots without effecting performance. Standard lengths are 18”
and 36” with custom lengths available by special order.
Odyssey Ultra-Thin SDI Cable CD-OD-SDI
http://convergent-design.com/accessories/51-ultra-thin-sdi-cable.html
ODYSSEY UTILITY DRIVE
The Odyssey Utility Drive is designed as a lower cost alternative to the Odyssey Premium SSD
media for secondary tasks. The Odyssey Utility Drive can be used for Odyssey rmware updates,
Odyssey 3D-LUT les and other future functionality. The Odyssey Utility Drive will not record video
les. It is intended for Odyssey owners who do not wish to tie up an Odyssey SSD with utility
features, or for Odyssey owners who use their devices primarily as monitors and do not need to
purchase large-capacity recording media.
Odyssey Utility Drive CD-SSD-UTILITY
http://convergent-design.com/accessories/75-odyssey-utility-drive.html
ODYSSEY SSD TO USB 3.0 ADAPTER
To connect an Odyssey SSD to a computer for downloading les, the computer needs to be able to
mount an eSata 2.0 connection. For computers without such connectivity, the Convergent Design
SSD to USB 3.0 Adapter is an inexpensive cable-style adapter to allow the Odyssey SSD to connect
to a USB 3.0 port. 6Ghz transfer speed.
NOTE: While the Convergent Design USB 3.0 Adapter can be connected to a USB 2.0 port,
download speeds will be extremely slow, requiring many hours to ofoad an SSD.
Odyssey SSD to USB Adapter CD-SSD-USB3
http://convergent-design.com/accessories/38-usb-3-0-ssd-adapter.html
CONTINUED »
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ACCESSORIES
ODYSSEY RACK MOUNT KIT
The Convergent Design Odyssey Rack Mount Kit accepts one or two Odyssey units. Monitors face
forward for easy viewing and tilt forward for access to SSDs. A pass through patch bay is included
on the back along with short jumper cables for complete connectivity.
Odyssey Rack Mount Kit CD-OD-RACK
ODYSSEY SCREEN PROTECTORS
The Convergent Design Odyssey Screen Protector is a stick-on/peel-off clear shield for the glass
screen on the Odyssey. It includes the inked labeling for the connectors and controls on the device.
This is a replacement item for the screen protector that ships installed on the Odyssey.
Replacement Odyssey7 Screen Protector CD-OD-SP7
Replacement Odyssey7Q Screen Protector CD-OD-SP7Q
Replacement Odyssey7Q+ Screen Protector CD-OD-SP7QPLUS
http://convergent-design.com/accessories/85-odyssey-screen-protector.html
ODYSSEY MICROFIBER CLEANING CLOTH
Cloth for cleaning the Odyssey screen CD-OD-MFC
For informaon on where to buy these accessories and other Convergent Design products please visit the
Dealers secon of our website at Convergent-design.com/dealers.
ODYSSEY REMOTE TRIGGER
The Convergent Design Odyssey Remote Trigger is a pushbutton active remote start/stop trigger
for Odyssey monitor/recorders. The trigger button illuminates while recording. The trigger plugs into
the RMT port on the left side of the Odyssey and comes in a six foot standard cable length. Custom
cable lengths and breakout cables for triggering multiple Odysseys are available for special order.
Odyssey Remote Trigger CD-OD-REMOTE
CONTINUED »
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ACCESSORIES
THIRD PARTY ACCESSORIES
Convergent Design works with numerous manufacturers for additional support products for the Odyssey
Monitor/Recorders. While we have provided information and support, Convergent Design makes no
claim and accepts no responsibility in the use of these products. These products are available through
these manufacturers’ own dealers.
See the complete list with links to the manufacturers’ websites at Convergent-Design.com.
SATA ADAPTERS
THUNDERBOLT Seagate GoFlex Model STAE128 or STAE129 We have measured
325-375MB/sec transfer rates to a fast RAID drive, depending on your
conguration.
USB 2.0 / 3.0 Seagate GoFlex Model STAE104 or Calvary USB 3.0 Adapter, Model
CAUSM2001. An ExpressCard 34 to USB 3.0 adapter may be required
for full USB 3.0 compatibility. However, USB 2.0 works ne to copy
rmware updates to the SSD.
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RELEASE NOTES
FIRMWARE VERSION 2015.5
Please note new naming convention for rmware updates, containing year followed by month.
NEW FEATURES (ODYSSEY7 / ODYSSEY7Q / ODYSSEY7Q+)
EXPANDED ODYSSEY LUT SYSTEM, INCLUDING CUSTOM 3D-LUTS
Improved & Expanded set of Preset LUTs
Support for user-loadable custom 3D-LUTs (up to 140, Odyssey7Q, Odyssey7Q+)
.CUBE LUTs translated for Odyssey using CD 3D-LUT Converter App
LUTs are currently for MONITORING only, not “baked in”
LUTs viewed during recording noted in XML le metadata
(new CD Apple ProRes Transfer Utility 1.7 required)
Extended and Legal Range LUTs Supported (EE vs LL)
LUT ROUTING TO TOOLS & OUTPUTS
Image Analysis Tools can measure “LUTTED” image or original source
Video outputs can independently turn ON/OFF LUT or Mirror OLED
ANAMORPHIC DESQUEEZE
2.0x, 1.5x, 1.33x Support
Corrected image sent to video outputs, recording unaffected
4K / 2K MONITORING MODES (ODYSSEY7Q, ODYSSEY7Q+)
17:9 Letterboxed within 16:9 image or Center-Cut to 16:9
Letterbox or Center-Cut image sent to video outputs, full frame recorded.
MONOCHROME MONITORING MODE
View Luma only or individual Red, Green, or Blue channel in grey tone
DUAL ZEBRAS
Set high & low for each, can overlap, separately selectable colors
EXPANDED FALSE COLOR MODE
Added Pink for Six colors
Each color set high & low, can overlap
EXPANDED OLED CONTROLS
Advanced Monitor Calibration Controls
Color channel bias controls, SMPTE color bars reference
IMPROVED MULTI-STREAM MODE SWITCHING
Switch between inputs without image icker or glitch.
SAFE EJECT AT POWER DOWN
Automatically closes all le directories on shut down
IMPROVED SONY FS RAW COLOR REPRODUCTION
Improved image quality in CinemaDNG and Apple ProRes recording
FS700 Apple ProRes recording with S-Log2 or REC709(800%)
FS7 CinemaDNG & Apple ProRes require SGamut3.Cine Color Space
CONTINUED »
Page 53
RELEASE NOTES
FIXES & IMPROVEMENTS
FIXED AUD OUT (Headphones) unmute
FIXED Audio gain settings when switching Analog to SDI
FIXED Safe Eject process to remove OLED ashing during procedure
FIXED FS700 4K RAW -> HD Apple ProRes detection
IMPROVED 4K Apple ProRes playback
IMPROVED 4K pixel zoom 1:1 and 2:1
IMPROVED PSF output support in all modes
IMPROVED Reduced overall power usage
IMPROVED Interlaced playback support
IMPROVED 4K -> HD Apple ProRes playback
FIXED hdmi legalize input setting
SOFTWARE UPDATES
CD Apple ProRes Transfer Utility 1.7
LUTs viewed during recording noted in XML le metadata
KNOWN ISSUES
• 4K HDMI input, to HD HDMI output there are lines in the display. Note HD-SDI output does not
have this issue. Recording is unaffected.
• When using FS7 / FS700 4K -> 4K Apple ProRes or 4K -> 2K Apple ProRes, enabling color bars
with PSF on causes vertical stretching of color bars.
• When using color bars, do not power up the unit with a video source connected as this can result in
a black screen. Disconnect SDU or HDMI to remedy.
• Pixel Zoom in 2:1 does not reach the corners of the image in 16:9 or 17:9
• When applying certain LUTs Legal / Extended may need to be selected to match the camera / NLE.
• SSD Detection is longer than previous 5-10 seconds.
• Loading of SSD LUTS can take up to 30 seconds.
• Deletion of Custom LUT Folders not enabled at this time.
• Loading of any LUTs go to LUT User folders only.
• Image Analysis Tool Overlays are slower than previous rmware (Lines on the display).
• When PSF output is selected OLED display is interlaced.
• Occasionally when viewing or recording 4K/UHD to 2K/HD SuperSample, lines can appear on the
OLED display. Recorded les as unaffected.
• IN FS700 4K Raw Burst mode (100p/120p), ten extra frames are recorded at the end of each
clip. Occasionally the are bad frames. This will be corrected in future rmware from 450 frames to
proper 440 frames.
• IN FS700 4K Raw Burst mode (100p/120p) -> 2K/HD Apple ProRes, the amount of frames that are
recorded may vary based on trigger type and clip to clip. Note the Odyssey always records 420+
frames in this mode.
• Graticules for Image Analysis Tools are not currently displayed on the SDI / HDMI outputs.
• Occasionally on startup the rmware version number located under the Safe Eject button will report
“2015”. Engage/disengage F1 Screen Lock to reset to display “15.05”.
• Deleting luts does not always work reliably, deleted luts can reappear after a power cycle
Workaround: Resetting luts via the Odyssey->Reset menu does clear (delete) all custom luts
• Anamorphic Desqueeze is not supported in Canon Half Raw at this time.
• 1D LUTs are not support, only 3D Luts.
KNOWN ISSUES (FROM PREVIOUS RELEASE: 5.1.100)
AUDIO
• SDI/HDMI outputs occasionally will not carry audio. Cycle Odyssey power to restore.
• SDI/HDMI audio occasionally will have a static pop when powering up.
• Audio will occasionally swap tracks when recording in DPX.
• Using Analog Audio and HDMI video, occasionally SDI, HDMI and headphone outputs do not carry
audio.
• Audio output (headphones) occasionally ips channels.
CONTINUED »
Page 54
RELEASE NOTES
MONITOR
• Focus Assist in Edge Enhanced mode and recording Apple ProRes 422(HQ) shows edges as white
instead of selected color.
• PIXEL ZOOM in RAW or DPX occasionally causes stretching of image. Recording is unaffected.
• Switching between ARRIRAW 1.5G DL and 3G DL occasionally can make the image incorrect
on the OLED screen. Disconnect & reconnect one of the SDI inputs to correct. Recording is
unaffected.
• SDI/HDMI outputs have a pink line in image on Canon C500 2K 12-bit/10-bit video. Recording is
unaffected.
• IO Industries RAW les do not send color balance metadata to the Odyssey7Q so images appear
incorrect. Recorded metadata color balance is set to 5600K but is not baked in.
PLAY
• Very fast scrubbing can show bad colors. The image corrects after scrubbing completed.
• PLAY mode audio occasionally out of sync.
• Playlist occasionally reports timecode as “00:00:00;00”. Eject and re-insert the SSD to correct.
• PIXEL ZOOM in PLAY mode, 1080i60 not supported & will blank image. Recording is unaffected.
• Scrubbing RAW or DPX les occasionally causes the image to pixelate. The image corrects after
scrubbing completed.
• FS700 2K RAW les occasionally show improper colors on initial selection of a clip. De-select and
then re-select the clip to correct.
• FS700 RAW les occasionally show vertical line on right edge of frame. Recording is unaffected.
• F700 4K RAW 50p les occasionally do not play back audio. Recording is unaffected.
• FS700 RAW 30p and 60p les occasionally play with jitter. De-select and re-select to correct.
Recording is unaffected.
• Multiple clip playback not supported in RAW formats.
• Canon UHD RAW occasionally plays back black image. De-select and re-select to correct.
Recording is unaffected.
RECORD
• Audio at the last few frames of an Apple ProRes 422(HQ) le occasionally records static. Add two
seconds of pre- and post-roll to shots to avoid.
• ARRIRAW 4:3 mode is currently unsupported.
POST
• FS RAW les appear green when imported directly into SpeedGrade.
• Pending Adobe update, import via dynamic link from Premier.
• Canon Cinema 4K half RAW 100/120 does not work in Adobe or Resolve - Working with Adobe and
BMD to resolve.
• In Resolve 11 Lite, FS700 RAW (CinemaDNG) les that are underexposed may appear green when
using “Auto-Color” setting. Working with Blackmagic Design to resolve.
FIRMWARE V5.10.100
NEW FEATURES (ODYSSEY7Q+)
HDMI 4K/UHD -> 2K/HD SUPERSAMPLE
4096x2160 to 2048x1080 23.98, 24, 25, 29.97
3840x2160 to 1920x1080 23.98, 24, 25, 29.97
High quality supersampling of 4K/UHD video signal over HDMI yields 2K/HD video superior to that
available directly from some small cameras
Page 55
RELEASE NOTES
NEW FEATURES (ODYSSEY7Q & ODYSSEY7Q+)
APPLE PRORES 422 & APPLE PRORES 422 (LT) SUPPORT
4K/UHD/2K/1080/720 resolutions all supported
4K/UHD up to 30p; 2K/1080/720 up to 60p
SONY F35 12-BIT/10-BIT RGB 4:4:4 SUPPORT
12-bit or 10-bit RGB 4:4:4 recording in uncompressed DPX stacks
Dual-link capture, 23.98, 25, 29.97
SONY FS7/FS700 RECORD OPTION ADDS ADDITIONAL APPLE PRORES SUPPORT
Apple ProRes 422
Apple ProRes 422 (LT)
(FS7/FS700 Record Option Required.)
Option of Apple ProRes 422 or Apple ProRes 422 (LT) for
• 4K RAW -> 4K Apple ProRes 23.98, 25, 29.97
• 4K RAW -> UHD Apple ProRes 23.98, 25, 29.97
• 4K RAW -> 2K Apple ProRes 23.98, 25, 29.97, 50, 59.94
• 4K RAW -> HD Apple ProRes 23.98, 25, 29.97, 50, 59.94
SONY FS700 RECORD OPTION ADDS HIGH SPEED BURST IN 2K/HD APPLE PRORES
(FS7/FS700 Record Option Required. Feature only available for FS700.)
Option of Apple ProRes 422 (HQ), Apple 422 or Apple 422 (LT) for
• 4K RAW Burst -> 2K Apple ProRes 100p, 120p
• 4K RAW Burst -> HD Apple ProRes 100p, 120p
CANON C500 RECORD OPTION ADDS APPLE PRORES 422 & APPLE PRORES 422 (LT)
(Canon RAW Record Option Required.)
Option of Apple ProRes 422 or Apple ProRes 422 (LT) for
• 4K RAW -> 4K Apple ProRes 23.98, 24, 25, 29.97, 30
• QHD RAW -> UHD Apple ProRes 23.98, 24, 25, 29.97, 30
NEW FEATURES (ALL ODYSSEYS)
APPLE PRORES 422 & APPLE PRORES 422 (LT) SUPPORT
1080p, 1080i & 720p supported
ODYSSEY REMOTE TRIGGER SUPPORTED
New Odyssey Remote Trigger (cable remote with record indicator)
HD Apple ProRes recording only
FIXES & IMPROVEMENTS
FIXED HDMI video Legalizing issue on some cameras
FIXED FS7 RAW DNG magenta cast
FIXED FS7 RAW DNG compatibility with Adobe, FCPX & Scratch Lab
FIXED C300 1080p30 playback
FIXED FS7 RAW to Apple ProRes S-Log2
FIXED C100 & FS100 1080p24 support
IMPROVED Playback performance
IMPROVED Safe Eject errors
IMPROVED FS700 LUTs
Page 56
RELEASE NOTES
THIRD PARTY DEVELOPMENTS
SONY PXW-FS7 AND ODYSSEY7Q WORKFLOW GUIDE
Nick Shaw of Antler Post worked with Convergent Design to develop Resolve Workow for FS7/FS700
.DNG les. Also created corrective LUTs for FS7 DNG les created in rmware builds prior to this
release (versions 2.1.100 – 4.1.100)
View Online: Sony PXW-FS7 and Odyssey7Q Workow Guide
PICTURE RESCUE 2 - PROSOFT ENGINEERING
Prosoft Engineering has updated Picture Rescue 2 to recover ALL le types from Convergent Design
SSDs. Even if a Safe Eject was not performed, this inexpensive utility can rescue the les.
KNOWN ISSUES
• 4K/UHD HDMI input recording 4K/UHD Apple ProRes, HDMI monitoring output shows lines in
display. SDI output, OLED image and recording are unaffected.
• 4K/UHD HDMI input recording to supersampled 2K/HD Apple ProRes, OLED image may show
lines in display. HDMI & SDI outputs and recording are unaffected.
• During SSD Safe Eject, OLED will ash after each clip completed. Operation unaffected.
• 720p50/60 over HDMI not functioning on Odyssey7Q+ (working on Odyssey7 and Odyssey7Q).
• Timecode triggering over HDMI not correctly functioning on FS7 & GH4. Use camera trigger.
• SDI output embedded audio occasionally has ticking noise.
• FS7 4K RAW->2K/HD Apple ProRes, S-Log3 to Rec709 LUT not working.
• FS700 4K RAW to 2K/HD Apple ProRes S-Log2 to Rec709 LUT not working.
• FS700 4K RAW Burst up to 10 additional frames (450 instead of 440) recorded. Additional frames
are “bad” and should be deleted.
• FS700 4K RAW Burst -> 2K/HD Apple ProRes clip length may be off by 1% (437 frames instead of
440).
FIRMWARE v4.10.100
NEW FEATURES (ODYSSEY7Q+)
4K 10-BIT HDMI SUPPORT
4K Apple ProRes 422 (HQ) 23.98, 24
UHD Apple ProRes 422 (HQ) 23.98, 24, 25, 29.97, 30
1080P60 10-BIT HDMI SUPPORT
1080p Apple ProRes 422 (HQ) 50p, 60p
NEW FEATURES (ODYSSEY7Q & ODYSSEY7Q+)
EXTENDED WARRANTY (ODYSSEY7Q ONLY)
All Odyssey7Q warranties are automatically extended to January 1, 2016. (See bulletin to Odyssey7Q
owners for details.)
4K/UHD DUAL-LINK 3G-SDI INPUT
Input 4K/UHD video via dual-link 3G-SDI. For use with cameras such as F55, GH4 with YAGH base,
and Phantom Flex4K.
MULTI-STREAM HDMI INPUT
Allows HD video signal over HDMI as one of the inputs for Multi-Stream Monitoring.
CONTINUED »
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RELEASE NOTES
MULTI-STREAM 720P INPUT
Allows 720p HD video signal for Multi-Stream Monitoring. Mixable with 1080i and 1080p HD video.
SONY FS7 (WITH XDAC-FS7 EXTENSION BACK) SUPPORT
Record modes available with FS RAW Record Option
4K RAW 23.98, 25, 29.97, 50, 59.94
2K RAW 23.98, 25, 29.97, 50, 59.94, 100, 119.88 (120), 200, 239.76 (240)
4K RAW to 4K Apple ProRes 422 (HQ) 23.98, 25, 29.97
4K RAW to UHD Apple ProRes 422 (HQ) 23.08, 25, 29.97
4K RAW to 2K Apple ProRes 422 (HQ) 23.98, 25, 29.97, 50, 59.94
4K RAW to HD (1080p) Apple ProRes 422 (HQ) 23.98, 25, 29.97, 50, 59.94
Note: FS7 S-Log3 supported in RAW & Apple ProRes record modes
SONY FS700 4K RAW TO 4K/2K APPLE PRORES
Additional record modes available with FS RAW Record Option
4K RAW to 4K Apple ProRes 422 (HQ) 23.98, 25, 29.97
4K RAW to 2K Apple ProRes 422 (HQ) 23.98, 25, 29.97, 50, 59.94
CANON C500 4K/QHD RAW TO 4K/UHD APPLE PRORES
Additional record modes available with Canon RAW Record Option
4K RAW to 4K Apple ProRes 422 (HQ) 23.98, 24, 25, 29.97, 30
QHD RAW to UHD Apple ProRes 422 (HQ) 23.98, 24, 25, 29.97, 30
Note: 4K “half RAW” to Apple ProRes not supported.
NEW FEATURES (ODYSSEY7, ODYSSEY7Q, ODYSSEY7Q+)
HDMI RECORD TRIGGER
Start/stop recording on Odyssey from Panasonic GH4 (with new GH4 rmware) and Sony a7S.
HDMI TIMECODE SUPPORT
Capture timecode data from Panasonic GH4 (with new GH4 rmware) and Sony a7S.
1TB ODYSSEY SSD SUPPORT
Allows the use of the new Odyssey 1TB SSD in Odyssey monitor/recorder.
CUSTOM FRAME GUIDES
Up to four user-programmable frame guides in six color options. All four frame guides plus one preset
frame guide can be displayed concurrently.
PLAYBACK NOTES
Expanding PLAY Markers functionality, a Notes text eld is now available in Clip XML data as well as
a Good/Bad take indication. Used in conjunction with new CD APPLE PRORES TRANSFER UTILITY
1.5, a Final Cut XML can transfer Markers and Notes to FCPX, FCP7, Adobe Premier and Resolve 10
& 11.
PSF VIDEO OUTPUT OPTION
Certain modes add choice of true progressive (p) or Progressive-Segmented Frame (psf) video output
for expanded compatibility with other equipment.
OLED CALIBRATION CONTROLS
RGB Gain and Saturation controls added for the OLED display, with reset.
2K APPLE PRORES SUPPORT FOR CANON C500 @ 50P/60P
CONTINUED »
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RELEASE NOTES
Record C500 2K @ 50p/60p in Apple ProRes 422 (HQ)
CD APPLE PRORES TRANSFER TOOL 1.5
Support for expanded Marker & Notes functions. Required for MAC OSX Yosemite compatibility. Java
JRE 1.6 required. CD Apple ProRes Transfer Tool available for download on the Convergent Design
website.
FIXES & IMPROVEMENTS
• FIXED HDMI input detection with Blackmagic HDMI to SDI Converter
• FIXED SDI input detection with Blackmagic SDI Studio camera (50p, 59.94p)
• FIXED Pixel Zoom image blackout when dragged to corner
• FIXED Pixel Zoom scrolling image when dragged to corner
• FIXED Safe Eject errors after mid-recording power loss
• FIXED Audio Gain adjustment
• FIXED FS700 low white balance clipping
• IMPROVED SSD menu function controls
• IMPROVED Screen Saver brightness
• IMPROVED Separate FS7 & FS700 camera selection in Odyssey menus
• IMPROVED Apple ProRes 47/48p Project Rate added
• IMPROVED LTC timecode trigger in HD ProRes
• IMPROVED Support to record 2K/HD @ 48p in Apple ProRes 422 (HQ)
• IMPROVED 4K Playback shows UHD center cut of 4K image
KNOWN ISSUES
MONITOR
• Occasionally when zooming, the image will stretch, zooming again will correct.
• FS7 Cine S-Log3 / S-Log2 not currently supported
PLAY
• Occasionally in Play there is an audible tone heard at the end of the le. Recording is unaffected.
• Custom name text may run out of box into other areas of the top menu when rst entered.
• Play Markers created in previous rmware not supported.
• Occassionally Scrubbing while playing 4K ProRes can cause image stuttering.
• Occasionally Pausing during playback of 4K ProRes can cause image stuttering.
• Occasionally a playlist le starting timecode will read 0’s. Remove and reinsert SSD to correct.
RECORD
• Occasionally HDMI input signals are not detected. Disconnect and reconnect HDMI plug to correct.
• Occasionally when switching modes to Canon 4K Raw to 4K ProRes, Odyssey fails to detect frame
rate. To correct disconnect and reconnect the SDI input.
KNOWN ISSUES (FROM PREVIOUS RELEASE: 3.10.100)
AUDIO
• SDI/HDMI outputs occasionally will not carry audio. Cycle Odyssey power to restore.
• SDI/HDMI audio occasionally will have a static pop when powering up.
• Audio will occasionally swap tracks when recording in DPX.
• Using Analog Audio and HDMI video, occasionally SDI, HDMI and headphone outputs do not carry
audio.
• Audio output (headphones) occasionally ips channels.
CONTINUED »
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RELEASE NOTES
MONITOR
• Focus Assist in Edge Enhanced mode and recording Apple ProRes 422(HQ) shows edges as white
instead of selected color.
• PIXEL ZOOM in RAW or DPX occasionally causes stretching of image. Recording is unaffected.
• Switching between ARRIRAW 1.5G DL and 3G DL occasionally can make the image incorrect
on the OLED screen. Disconnect & reconnect one of the SDI inputs to correct. Recording is
unaffected.
• SDI/HDMI outputs have a pink line in image on Canon C500 2K 12-bit/10-bit video. Recording is
unaffected.
• IO Industries RAW les do not send color balance metadata to the Odyssey7Q so images appear
incorrect. Recorded metadata color balance is set to 5600K but is not baked in.
PLAY
• Very fast scrubbing can show bad colors. The image corrects after scrubbing completed.
• PLAY mode audio occasionally out of sync.
• Playlist occasionally reports timecode as “00:00:00;00”. Eject and re-insert the SSD to correct.
• PIXEL ZOOM in PLAY mode, 1080i60 not supported & will blank image. Recording is unaffected.
• Scrubbing RAW or DPX les occasionally causes the image to pixelate. The image corrects after
scrubbing completed.
• FS700 2K RAW les occasionally show improper colors on initial selection of a clip. De-select and
then re-select the clip to correct.
• FS700 RAW les occasionally show vertical line on right edge of frame. Recording is unaffected.
• F700 4K RAW 50p les occasionally do not play back audio. Recording is unaffected.
• FS700 RAW 30p and 60p les occasionally play with jitter. De-select and re-select to correct.
Recording is unaffected.
• Multiple clip playback not supported in RAW formats.
• Canon UHD RAW occasionally plays back black image. De-select and re-select to correct.
Recording is unaffected.
RECORD
• Audio at the last few frames of an Apple ProRes 422(HQ) le occasionally records static. Add two
seconds of pre- and post-roll to shots to avoid.
• ARRIRAW 4:3 mode is currently unsupported.
POST
• FS RAW les appear green when imported directly into SpeedGrade. Pending Adobe update,
import via dynamic link from Premier.
• Canon Cinema 4K half RAW 100/120 does not work in Adobe or Resolve Working with Adobe and
BMD to resolve.
• In Resolve 11 Lite, FS700 RAW (CinemaDNG) les that are underexposed may appear green when
using “Auto-Color” setting. Working with Blackmagic Design to resolve.
EARLIER VERSIONS
Please see our website for release notes for earlier rmware versions.
CONTINUED »
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LIMITED WARRANTY
Convergent Design warrants Odyssey, and all included accessories, against defects in material and
workmanship for a period of one year for registered units, and 3 months (for units used as rentals)
from the original date of purchase.
Convergent Design disclaims all other warranes.
Convergent Design will not be liable for damages of any kind, including, but not limited to, compensaon
or reimbursement on account of failure of the unit, or any of its accessories, or its recording media,
external storage systems, or any other media or storage systems to record or playback content of any
type. Also Convergent Design will not be liable for a failure of the unit to properly record or play back
for any reason. Convergent Design’s total liability, in all cases, is limited to the actual purchase price.
If you discover a defect, please refer to our Return Merchandise Policy below.
During the warranty period, Convergent Design, at its opon, will repair or replace product or product
components, which in its opinion prove defecve, provided the unit is returned, freight charges prepaid,
to Convergent Design. Parts and components used in the repair process may be recycled or repaired,
at Convergent Design’s sole discreon. This warranty service will be performed at no charge to the
registered owner, provided the product is shipped prepaid to Convergent Design.
Convergent Design reserves the right to determine whether a needed repair is subject to the warranty
as per its provisions stated herein. Transit damage caused by inadequate packing violates the warranty.
The warranty will be void if, in the opinion of Convergent Design, the product has been damaged
through accident, misuse, misapplicaon, or as a result of service or modicaon not authorized in
wring by Convergent Design.
Opening the unit and breaking the warranty seals, voids the warranty, unless specically authorized in
advance by Convergent Design.
THE FOLLOWING ARE NOT COVERED UNDER WARRANTY, AND ARE ITEMS FOR WHICH CONVERGENT
DESIGN DOES NOT ACCEPT ANY RESPONSIBILITY:
Damage due to the use of an AC power supply, other than the one supplied, or use of any inappropriate
power source.
Damage due to overheang condions. The unit will aempt to shut down, if powered on, in the event
of overheang, before damage can occur.
Damage due to exposure to water, or other liquids, or excessive dust or sand.
Damage caused by dropping or other rough handling.
Damage caused by any over-voltage condions or reverse voltage condions.
Any physical damage to the OLED and/or Touch Screen including scratches.
Damage to any connector by using excessive force or rough handling.
Any loss or corrupon of video or audio data recorded on the unit, or any loss or corrupon of data that
is in any way associated with the Odyssey.
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APPENDIX
MONITOR/RECORD OPTIONS
SONY FS7/FS700
SONY
CANON
ARRI
POV RAW
OTHER
PANASONIC
RED
MULTI-STREAM
HD/2K 4:2:2 -> HD/2K ProRes (.MOV)
FS 4K RAW -> HD ProRes (.MOV)
FS 4K RAW -> 2K ProRes (.MOV)
FS 4K RAW -> 4K ProRes (.MOV)
FS 4K RAW -> UHD ProRes (.MOV)
FS 4K/2K RAW -> RAW (.DNG)
HD/2K 4:2:2/4:4:4 -> 4:4:4 (.DPX)
4K/UHD 4:2:2-> 4K/UHD ProRes (.MOV)
HD/2K 4:2:2 -> HD/2K ProRes (.MOV)
HD/2K 4:2:2/4:4:4 -> 4:4:4 (.DPX)
CANON C500 4K/QHD RAW -> RAW (,RMF)
CANON C500 4K/QHD RAW -> 4K/UHD ProRes (.MOV)
HD/2K 4:2:2 -> HD/2K ProRes (.MOV)
HD/2K 4:2:2/4:4:4 ->4:4:4 (.DPX)
ALEXA ARRIRAW -> ARRIRAW (.ARI)
HD/2K 4:2:2 -> HD/2K ProRes (.MOV)
HD/2K 4:2:2/4:4:4 -> 4:4:4 (.DPX)
INDIECAM RAW -> RAW (.DNG)
IO INDUSTRIES 2K/HD RAW -> RAW (.DNG)
4K/UHD 4:2:2-> 4K/UHD ProRes (.MOV)
HD/2K 4:2:2 -> HD/2K ProRes (.MOV)
HD/2K 4:2:2/4:4:4 ->4:4:4 (.DPX)
4K/UHD 4:2:2-> 4K/UHD ProRes (.MOV)
HD/2K 4:2:2 -> HD/2K ProRes (.MOV)
HD/2K 4:2:2/4:4:4 ->4:4:4 (.DPX)
4K/UHD 4:2:2-> 4K/UHD ProRes (.MOV)
HD/2K 4:2:2 -> HD/2K ProRes (.MOV)
HD/2K 4:2:2/4:4:4 ->4:4:4 (.DPX)
4x HD MONITORING (no recording)
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WEBSITE LINKS
Home Page http://convergent-design.com
New Account/
Activate Device
Products https://convergent-design.com/products.html
Odyssey7Q+ http://convergent-design.com/products/plus.html
Odyssey7Q https://convergent-design.com/products/odyssey7q.html
Odyssey7 https://convergent-design.com/products/odyssey7.html
Legacy Products https://convergent-design.com/products/legacy-products.html
Recording Options http://convergent-design.com/products/recording-options.html
SSD Media https://convergent-design.com/products/premium-ssd-media.html
Accessories https://convergent-design.com/products/accessories.html
Support https://convergent-design.com/support.html
Firmware/Downloads https://convergent-design.com/support/rmware-downloads.html
Knowledgebase https://convergent-design.com/support/knowledgebase.html
Support Tickets https://convergent-design.com/support/support-tickets.html
Videos https://convergent-design.com/support/cd-videos.html
https://convergent-design.com/new-north-america.html
Company https://convergent-design.com/company.html
Blog/News https://convergent-design.com/company/blog-news.html
Contact Us https://convergent-design.com/company/contact-us.html
Press/Media https://convergent-design.com/company/press-media.html
Dealers https://convergent-design.com/dealers.html
Dealer Inquiry https://convergent-design.com/dealers/dealer-inquiry.html
Looking for something you don’t see here? Try out the Search box on any page of our website.
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© 2014 Convergent Design, Inc. - All Rights Reserved.
All copyrights and trademarks remain the property of their respective owners.
Updated June 2, 2015
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