Firewire Output–Just a rant

[Blayne Gorum]

Tony,

I’m not sure what it will take to get this through to you, but this has nothing to do with Kona 2, the 130 or on set practices on 35mm shoots.

I applaud your professionalism and experience, but you really have been entirely useless and distracting. It is obvious that you did not read or perhaps comprehend the prevous posts. You continue to address tangentially related issues and do not address the main point even once. I’m tired of being dragged down these side roads due to a useless vanity I posted because of what I see as an unneccessary expense for media capture.

The only thing I want is to be able to capture to disk in the field in DVCPRO HD. Editing is a bonus. Playback is a bonus (well, a little more than that). You know, like the DV & HDV (soon) guys can do.

Name me the shortcoming with this aspiration.

[Kevin Lang]

Blayne,

Once again I agree with you I dont understand how these people get on a rant when they clearly havent even read the post.

Wouldnt it be nice to be able to capture the footage in the field as it is being shot keeping the tape only as a back up or if the techno geeks must recapture later at full res. This would save alot of time digitizing and add alot more creativity to the shoot as this is something we have done with DV for years!

We would storyboard out the whole project with scratch dialogue and sound, music and then our editor would replace the boards with live action in the field as we went and this helped alot with everyone being able to be on the same wave! This I believe Blayne has been eluding to the whole time! (email me on the side if not Blayne).

It is all about the tools in the tool box that help us do our jobs the best we can, you dont have to use it if you dont want but there is alot of people out there I know personaly that would love to see this.

Kevin

[Gary Adcock]

[KEVIN Lang] “Wouldnt it be nice to be able to capture the footage in the field as it is being shot keeping the tape only as a back up or if the techno geeks must recapture later at full res. This would save alot of time digitizing and add alot more creativity to the shoot as this is something we have done with DV for years!”

While I have contributed my own discordant rants here, Numerous solutions have been offered
The answer is this can be done now, maybe not the way that Blayne wants, and just because you can do it in DV, Kevin, does not mean it is a piece of cake to do the very same thing in HD.
Using a Kona 2 setup, renting a 1200a deck, or using the now defunct CineRam product, that could perform this function on battery power, are all existing solutions that work now.

I previously mentioned the cost of a standalone HDSDI-FW bridge would just be prohibitive. There are just not enough people to buy them to make it profitable – remember that the cost ratio reduces when more people buy. This is a very limited use device possible less than 2K total units. Who pays for the R&D then, or the manufacturing,packaging and marketing?

The unit that handles the HDV consumer compression to HDSDI is over $6K.
A pro-device to handle would easily cost 3x that price. As a pro device it would have to handle both 720 and 1080, but what about Frame Rates? Or are you willing to go on set and not view the footage at it’s proper frame rate?
How is it going to handle 25fps content? (or do we continue to ignore 3/4 of the planets video frame rate). How is it going to work with Windows based editing systems that do not support the DVCPROHD codec.

So, as you already know, there are more than a few problems to solve.

From IBC

Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL

[Blayne Gorum]

Gary,

Last week I agreed with most of what you say. However, this is what started all this when I got the email…

https://www.focusinfo.com/corporate/pr_new/Panasonic090905.htm

I really would like to know what it would take for Varicam support, since it is already handling the DVCPRO HD format. I put in an email to Focus, but so far no response.