Odyssey7Q+ Raw Bundle Half Price + Massive $10K Off on Fujinon Cabrio Lenses!

Convergent Design announced they are slashing $500 off their Raw Bundle for the Odyssey7Q+, which gets you access to 4K/60p and 2K/240fps Raw from the Sony FS700, FS5, and FS7 in addition to Raw from Varicam LT, Canon C300 II, C500, ARRI and a bunch of other cool cameras.

This is certainly great value for those who already own an Odyssey7Q+ or 7Q, but have not yet bought the Raw bundle, or those considering buying an Odyssey7Q+ ($1795 at B&H) for the first time. Normally priced at $995 and available only direct via the Convergent Design website here, the Raw Bundle for the O7Q/7Q+ truly transforms Sony FS cameras into cinematic beasts.

Sure, you have to add a few more bits – such as the FS5 Raw license ($499) to the Sony FS5, or the XDCA-FS7 extension unit to the Sony FS7 or FS7 II to make it work, but for high-end jobs where you need that 12bit raw and higher frame rates, it can definitely pay off with impressive visuals.

Convergent Design have been doing an awesome job upgrading their flagship raw recorder, with an average free firmware update unlocking new features and additional functionality every 2.5 months since shipping in January 2014 to both the Odyssey and the RAW Bundle.

Odyssey7Q+ raw bundle $495 half Price

Convergent Design have solidified their commitment to excellence and their current O7Q+ customers, and unlike many other manufacturers the actually confirmed that “…[we] are devoted to the Odyssey and the RAW Bundle support and will not be announcing a product to supersede it at NAB 2017. In fact, the Odyssey RAW Bundle will continue to see free updates over the following months.”

For a limited time Convergent Design will offer promotional pricing of $495 for the Odyssey Raw Bundle.

The Odyssey Raw Bundle includes permanent Raw support for the following cameras:

  • Sony FS700, FS5, FS7/FS7 II 
    • FS 4K RAW (24, 25, 30, 50, 60fps)
    • FS 2K RAW (24, 25, 30, 50, 60fps)
    • FS 4K RAW to 4K Apple ProRes (24, 25, 30, 50, 60fps)
    • FS 4K RAW to UHD Apple ProRes (24, 25, 30, 50, 60fps)
    • FS 4K RAW to 2K Apple ProRes (24, 25, 30, 50, 60fps)
    • FS 4K RAW to HD Apple ProRes (24, 25, 30, 50, 60fps)
    • FS 2K RAW High Speed to HD Apple ProRes (100, 120, 200, 240fps)
    • FS700 High Speed Burst Mode: 440 frames (100p /4.4s or 120p/3.7s)
    • FS 4K RAW Burst to 4K RAW (100, 120fps)
    • FS 4K RAW Burst to 4K (100, 120fps)
    • FS 4K RAW Burst to UHD (100, 120fps)
    • FS 4K RAW Burst to 2K (100, 120fps)
    • FS 4K RAW Burst to HD Apple ProRes (100, 120fps)
  • Panasonic Varicam LT
    • 4K 12-bit 23.98, 24, 25, 29.97
    • 4K 10-bit 23.98, 24, 25, 29.97, 50, 59.94
    • QHD RAW to UHD Apple ProRes / 10-Bit / 23.98, 24, 25, 29.97, 30
    • UHD 12-bit 23.98, 24, 25, 29.97
    • UHD 10-bit 23.98, 24, 25, 29.97, 50, 59.94
  • Canon C500
    • CANON Cinema RAW data is recorded as .RMF files.
    • 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
    • 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
  • Canon C300 Mark II
    • CANON Cinema RAW data is recorded as .RMF files.
    • 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
    • 4K/QHD RAW / 23.98, 24, 25, 29.97, 30
    • 2K/1080p 12-bit/10-bit 4:4:4 support / 23.98, 24, 25, 29.97
  • ARRI Alexa Classic/Plus, ALEXA 4:3/ALEXA Plus 4:3/ALEXA M, and ALEXA Studio
    • HD Apple ProRes 422 1080p50/60
    • HD Apple ProRes 444 1080p50/60
    • ARRIRAW 16:9 / 23.98, 24, 25, 29.97, 30, 48, 50, 59.97*, 60 – recorded as .ari files
    • ARRIRAW 4:3 / 23.98, 24, 25, 29.97, 30, 48* – recorded as .ari files
  • IO Industries – Flare 4KSDI, Flare 2KSDI, Indiecam indieGS2K
    • 4K RAW 23-98-60p (IOI Flare 4KSDI)
    • 2K or HD 10-bit RAW 23.98, 24, 25, 29.97, 30, 50, 59.94, 60 (IOI Flare 2KSDI)
    • 2K RAW 10-bit 24, 25, 30, 50, 60 (Indiecam indieGS2K)
    • HD RAW 10-bit 100, 120 (Indiecam indieGS2K)
    • HD RAW 12-bit 23.98, 24, 25, 29.97, 30, 50, 59.94, 60 (Indiecam indieGS2K)

fujinon Cabrio 19-90

In addition, for those high-end shooters out there who have been salivating over the Fujinon Cabrio 19-90mm T2.9 and other Cabrio zooms, including the Fujinon Cabrio 14-35mm T2.9, 85-300mm, and 25-300mm – you can now get them for $10,000 less than before.

Fujifilm recently announced the new official price drop for the following Cabrio zooms (in USD):

  • Fujinon 19-90mm T2.9 – now $29,800 (B&H even have it listed for $28,300 including an additional $1,500 discount)
  • Fujinon 85-300mm – now $32,000
  • Fujinon 14-35mm T2.9 – now $32,000
  • Fujinon 25-300mm – now $44,000

The 19-90 Cabrio alongside the Canon CN7x17 17-120mm have been probably the two most popular S35 zoom lenses for high end documentaries and broadcast work, at least in the UK. Often rented, rather than owned, the Cabrio’s represent a significant investment compared to other lenses, however with the recent price drop, they are becoming a more sober possibility for cameraman who often rent them or production companies looking to expand their in-house fleet.

By all means, they are not what most of us would call affordable, but given their popularity, longevity, and quality – 28 grand spread over 15-20 years seems like a no brainer at the moment. At least, in my opinion, if you have the clientele for this type of higher end work.

For those of us, working in the lower-end of the spectrum, for whom the 19-90 Cabrio is still unattainable, there are other options such as new Fujinon MK Series 18-55mm T2.9 at just $3,800 (for those in the E-mount world, though) or the Canon 18-80mm T4.4 ($5,225) or the the Zeiss 21-100mm T2.9-3.9 at around $10k.

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