Ninja V Samsung 850 Pro Fail!

Having downloaded the 30-day free trial version of TrueMotion – synthetic shutter software that gives the user control over motion blur, judder and sharpness – we set about shooting some 4.2K 60p ProRes RAW HQ just for the heck of it. To really take advantage of TrueMotion’s capabilities, you’ve got to shoot 120p at a shutter angle of 360 degrees but the Ninja V is limited to 60 frames per second. Which is why we’ve been entertaining the idea of upgrading to the Ninja V+.

One of the 60p clips turned out to be corrupted, so we ended up spending the better part of the afternoon running a bunch of tests on the Ninja V. The first thing we did was to perform first aid on the SSD with Apple’s Disk Utility. Next, we swapped out the official Atomos HDMI cable for a generic one that we’d stored away for a rainy day. When neither of those fixes worked, we tried recording a 60p clip to one of the a7s III’s internal SD cards just to rule out a problem with the camera itself. After which, we downloaded Binary Fruit’s DriveDx, one of the few drive health diagnostic apps compatible with macOS, to see whether our Samsung 850 Pro was on its last legs. It got a clean bill of health.

Each and every time we recorded 4.2K 60p, the clips were corrupted, yet not once did the skippy icon ever appear on the Ninja. Our 24p clips were corrupted as well. This in spite of the fact that the Samsung 850 Pro is on the list of Ninja V supported media and is supposed to be able to record ProRes RAW HQ at up to 6K 30p. After a number of tests, we determined that we could reliably record ProRes RAW 24p and 60p, but certainly not ProRes RAW HQ.

Thinking that the trouble might be with the cable, a friend gave us one of his own to try out – a UGREEN USB 3.0 to SATA hard disk drive converter cable.

Testing the Samsung drive with our own Seagate cable, we got the following miserable results:

The new cable measured nearly twice as fast, and while we were still unable to record ProRes RAW HQ, the transfer speeds for ordinary ProRes are much faster than before.

Anyhow, one of the reasons we’re hesitating picking up the Ninja V+ is that we’re seriously contemplating purchasing the Canon EOS C70; the other is that the TrueMotion app doesn’t work and although it’s been several days since we reached out to RealD, we haven’t heard back from them. Let us know in the comments which SSD you use with your Ninja V or Ninja V+.

21 thoughts on “Ninja V Samsung 850 Pro Fail!

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  1. What a pitty considering the price the Ninja and this kind of special SSD is.
    I had a look at the Komodo, the color science is great but all the riging to add makes it very specific for narrative work.
    The C70 is very appealing considering it should be possible to record RAW internally.
    Its screen also seems to be not bad (even if not replacing a Ninja), internal ND filters, 2 mini XLR outputs.
    It seems more versatile than the Komodo.
    Would be interested to test it.

    1. Yeah, I’ve been using the same Samsung SSD that I purchased for my Ninja Inferno with the Ninja V for well over a year now, but since I mostly shoot short clips at 24p, I’ve only noticed corrupted files a couple of times and never bothered doing a test. Being able to record to V90 SD cards means I wouldn’t have to invest in expensive CFast cards. The DGO sensor means no longer having to expose to the right. The AF is going to be less reliable than Sony’s and no IBIS might turn out to be a pain though. I’ve got to return to the camera shop after the Lunar New Year to handle the C70 more and decide whether I want to make the switch.

  2. I see John.
    What about the lenses?
    You would keep the Sony ones with an adaptor or get some RF lenses (with 1.5 crop but no color shift introduced by the EF-RF 0.71 adaptor)?

    1. Good question! RF lenses are super expensive. I just might go with EF lenses + focal reducer. The EF mount was a missed opportunity by Blackmagic.

      1. What key features makes you more interested in the C70 than the FX6, knowing you already have very good Sony FF lenses?

      2. All of the cameras have tradeoffs. I’m primarily interested in system dynamic range, noise handling and exposure latitude. Working with another brand will also give me more insight into HDR workflows that can be incorporated into my guide and broaden its appeal to non-Sony shooters.

  3. You are more interested into the C70 than the FX6 finally?
    The FX6 has a better AF and also have the key features that the c70 has, no?

    1. Canon’s DGO sensor (pre-production C300 Mark III) measured 12.8 stops DR in 10-bit XF-AVC Canon Log2/C.Gamut at 25p with noise reduction off, while FX6 ProRes RAW measured 11.4, an average result for a full frame sensor and worse than the Pocket 6K. Noise handling of the C70 also appears to be excellent.

  4. SSDs throttle down their speed when they get hot. It could be that’s what is happening with your 850 with longer recordings. What sort of corruption did you experience – Files not playable at all?

    1. That’s probably it. For the tests, I recorded twenty-five minutes take, which I seldom do in real life. To check for corrupted files, I transcoded the files in Compressor. If Compressor failed to complete the task, the file was corrupted. When this happened in the past, I would transcode the same clip directly from within Final Cut Pro and when transcoding failed, a message would appear letting me know precisely which frames were corrupted and I would just remove those frames and continue transcoding. The corrupted ProRes RAW files are playable in Final Cut Pro and the bad bits look like tiny flashes of light.

  5. Jon, Carlos Quintero made several videos about the C70 (starting with a 1h20min video talking about the C70, FX6 and Komodo).
    Then several videos about the Canon focal reducer problems there can be with EF non compatible lenses (assist tools warning, etc).
    Quite interesting.

    1. I’ll have to check it out. (a couple of hours later…) I haven’t seen the video you mentioned yet, but in another one he explains why he’s picking up the C70 “because I’m the sort of person who will choose dynamic range over sensor size and resolution ten out of ten times.”

      1. Yes, he looks to like the C70, excepted at 120p because he says the sensor has a weird behaviour at this frame rate.
        In general, shooting 120p is not very common but for HDR it may important as you explained it.
        Then, the other thing he says is that it’s not a full frame sensor so he knows he will will not have the full field of view.
        For that, I would say:
        1. Until very recently, most of the cameras even cinema ones “only” have a S35 sensor.
        2. The RED camera that he likes a lot when working with a crew, lighting, etc is the Komodo and it’s also a S35 camera.
        As you, I think the DR is more important than the sensor size, knowing that you can already create a lot with S35 (~ APSC) sensor and the appropriate lenses.

        About the RF lenses, the good point is that we can make customize a ring to make it smooth and affect to it a specific functionnality like the “Aperture”.
        It can be useful to adjust and finish the exposure once you set the ISO, SS and an ND filter value.

      2. One company argues that shooting at high frame rates can actually increase dynamic range by as much as +1.5 stops. For fast moving action, as much as 50% of the signal can be aliasing noise (judder is temporal aliasing, or noise in the time domain), which can be reduced by shooting at high frame rates and using virtual shutter in post production. The improvement in image quality can be as dramatic as removing aliasing and moire is in the spatial domain.

  6. Yes, that’s why I wanted to warn you about that since you are about to shoot 120p more and more.
    Globally, his videos are quite serious and interesting. Saying things other Youtubers don’t because they only keep the camera for 2 weeks.

    1. Quintero pretended to be shocked by the C70’s 4K 120p picture quality, but his Komodo can only do an extraordinarily noisy, postage stamp sized crop of the 6K sensor at 120p. 🤣

  7. The thing that makes the FX6 more appealing is the lenses ecosystem.
    It’s full frame to full frame sensor (you don’t pay an RF to use cropped) and the Sony mount is opened to thrid parties whereas RF is not until now.
    Sony ecosystem gives more options right now.

  8. Concerning the colors, as you already know, the A7SIII already has very good colors compared to previous Sony cameras but the FX6 also hasn’t the green skin tone problem as Gerald Undone could check it.
    Quintero himself said the advantage Canon had on colors is not as true as before with what Sony did recently.

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