Decisions, decisions…
Both recorders do what they’re supposed to do with the Canon C500: capture 2K uncompressed and 4K raw, and do it under camera control, so that tethered recording is scarcely any more complicated than shooting to the C500’s internal CF cards.
At first glance, there’s a clear and somewhat stereotypical distinction between the Gemini and the Onboard S. The Gemini is cheaper, less refined, and not quite as capable; the Codex is more elegant and feature-rich, but at a price. So if you’re flush, buy or rent the Codex; otherwise get the Gemini, right?
Not so fast. I’d argue that the Gemini can be a better choice, not just a cheaper choice, for smaller, lighter-weight productions, where self-contained mobility is more important than wide-ranging functionality. The Gemini’s 5” touchscreen is remarkably useful (as Cinedeck, PIX, and Atomos users will readily attest), eliminating the need for a separate display for confidence monitoring and playback. The optional onboard battery means there’s one less external power source to worry about: both the C500 and the Gemini can run on their own small, lightweight batteries. The Gemini’s included transfer station connects, via inexpensive adapters, to anything with a USB 3.0, FW800, eSATA, or Thunderbolt port; you can data-wrangle with a laptop if you want to—and I did.
The Onboard S is better suited to heavily-crewed Hollywood-style (or Shepperton-style) productions, as you might expect given Codex’s genesis and growth in the high-end production marketplace. It’s the way to go if you have a dedicated data tech who will be entering shot notes and other metadata during production, a colorist designing looks and LUTs for immediate on-set application and validation, and the need or desire for a transfer station that automatically gives you transcoded proxies and edit masters even as it copies your DPX or raw files to LTO tapes. Yes, you can just slap the Codex on rails behind the camera, feed it power, and be done with it, but you’ll want a data tech with a wired-in laptop and a separate monitor for playback to fully exploit it, and it requires a Mac Pro tower or a Codex Vault for data transfer.
There’s also the familiarization factor. The Gemini was surprisingly easy to set up and get going, for the most part without Reading The Fine Manual. The Codex’s added sophistication, complexity, and capabilities mean you really do need to sit down with it and study it in some depth before using it.
Codex offers training near their London and Los Angeles locations, and they’re also staring to go farther afield (I sat in on a basic course at Videofax in San Francisco). I’d recommend checking with Codex to see if they’re bringing the show on the road where you’re located, or to find out when the next sessions are in LA or the UK.
In short, you won’t go wrong with either one. Production requirements may force the issue (small, self-contained, built-in monitor? Gemini. Speeds and formats the Gemini doesn’t support? Codex), but those aside, it’s the usual tradeoff between availability, cost, features, and styles of production. Both will do the job.
Alternatives?
- The Codex Onboard M also records Canon uncompressed and raw formats.
- The Astrodesign HR-7510 is available in Japan. Plans for the USA are still being worked out, according to Canon.
- The Keisoku Giken UDR-N50A is a half-width rackmountable recorder, available in Japan.
These are all uncompressed recorders, like the Gemini and Onboard S.
Additionally, S.two is said to be working on Canon compatibility for the OB-1 uncompressed recorder, and AJA is developing the Ki Pro Quad to record the Canon’s output as ProRes.
Pictures
Gemini on “A Walk in the Woods”, Director Devin Baker, DP Art Adams, 1st AC Ted Allen:
Codex Onboard S (mounted on the world’s cheapest rail set):
Codex Onboard M, riding an Arri Alexa at Videofax, for comparison:
Disclosures: Canon arranged for us (Art Adams and me) to borrow a Gemini from Convergent Design and an Onboard S from Codex for review purposes. Sadly, we had to send both recorders back when we were done. None of the companies compensated us for our time or influenced us in any way, other than by providing training and support, to make us write more positive things about their gear. We don’t have any material connection with Canon, Codex, Convergent Design, and/or Videofax other than as end-users. Company representatives reviewed this article for errors of fact, but the opinions expressed are mine alone.
About the Author
Adam Wilt is a software developer, engineering consultant, and freelance film & video tech. He’s had small jobs on big productions (PA, “Star Trek: The Motion Picture”, Dir. Robert Wise), big jobs on small productions (DP, “Maelstrom”, Dir. Rob Nilsson), and has worked camera, sound, vfx, and editing gigs on shorts, PSAs, docs, music vids, and indie features. He started his website on the DV format, www.adamwilt.com/DV.html, about the same time Chris Hurd created the XL1 Watchdog, and participated in DVInfo.net’s 2006 “Texas Shootout”. He has written for DV Magazine and ProVideoCoalition.com, taught courses at DV Expo, and given presentations at NAB, IBC, and Cine Gear Expo. When he’s not doing contract engineering or working on apps like Cine Meter, he’s probably exploring new cameras, just because cameras are fun.
