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I’d like to discuss the SPX800 P2 camera
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Well, we looked and looked and narrowed it down to Fujinon, and then it was all about which one. We knew we wanted an HD lens and we wanted basically the same specs you are looking at for the same reasons. We decided on the fujinon 13×4.5. It’s a nice balance between telephoto and wide angel in one lens. If we ever need any other lenses for any other occasions, we just rent. this lens gave us a lot of choices. It’s super wide if you need it. It’s all subjective and I’d encourage you to look around and see what you think. There’s an SDX900 forum over at cinematography.com. there’s some posts about lens choice in there and it’s all searchable. We shoot almost exclusively 16:9 these days, so getting an HD lens was important to us. Plus in 2-3 years we will probably get a big body HD camera with 2/3″ chips. This lens will help us upgrade a little bit more cheaply (but maybe I’ve mentioned this already). Anyway, that was our thinking.
Jeremy
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This was an example of a P2 workflow that included redundancy and archiving.
What do people think about this?
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Forum: Apple Final Cut Pro
User Name: Shane Ross
Post Subject: Re: p2 and FCP – I am curious about your Mac OS and driver setup?————————————————–
On the intial shoot, we had a PC laptop with a PCMCIA slot, and slipped the P2 card into that and connected several 80GB Porsche hard drives to offload the RAW P2 data…CONTENTS and LAST CLIP.txt. Then we took those, copied them to a large 1TB G-Raid to give to me to import and convert…putting the converted files onto two 500GB G-Raids. After importing the footage and making sure it all worked, we kept the 1TB G-Raid as our archiving master…reformatting the Porche Drives.
On the second shoot, we acquired a 60GB P2 Store and downloaded to that with the push of a button. Then when it was full, we used the laptop to transfer from the P2 store to the Porsche drives (a Mac will work for this, but requires a few steps NOT in the manual). Again, they were put on the 1TB G-Raid and imported.
The 1TB G-Raid will most likely be put on a shelf with the RAW files as the method of archiving.
Shane Ross
Alokut Productions
http://www.lfhd.netChris Baldwin
Shoulder High Productions
Media of the World; For the World!
https://www.shoulderhigh.com
newsletters@shoulderhigh.com -
Jan,
[Jan Crittenden Livingston] “My most favorite at this point in time is DLT/LTV tape storage solutions, data Storage tape. The cheaper they are the slower, but you can get a Dell for about $2250 and a about $50 for 200gigs. This will give you slightly faster than real time on HD and about 2X on DVCPRO50.”
When you first mentioned this to me in person several months ago, I admit that I sort of poo-pooed it in my mind. I’ve since researched it, and yeah, it looks like the way to go until holographic optical becomes readily available at prosumer prices which may take another 2 years, I’m guessing.
The LTO units are by far the best combination of capacity, speed and price over DLT and others. BTW the Dell LTO2 unit you mention actually sells for less than $1700 and their LTO3 unit (400 GB native capacity) is 3 times the speed (3X realtime for HD and 6X for 50) for less than $3500. Media cost for either unit is around 25 cents/GB. Dell’s pricing on these is as good as anyone’s. These should hold the fort for small outfits until Holographic.
The Dell connection:
https://www1.us.dell.com/content/products/compare.aspx/tapeb_sing?c=us&cs=04&l=en&s=bsd
Regards,
Ron Shook
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Yep, that looks like it would work.
But this kind of cost is what the bill payer my shop won’t pay for every 2-3 projects. Plus there’s the cost of a PC laptop (for me as I work with macs) and then the cost of the P2 store.
GRaids are awesome though. I have had some problems with LaCie, but maybe that’s just me.
These costs are cool to accumulate with an HVX200 since the price of the camera package is so low. WIth an SPX800, your cost is quadruple right off of the bat so adding on all of these little gadgets keeps jacking up the price of an already significant investment. I mean if you decide to go with these higher end tape drives, just getting a scsi card is going to set you back 1,000 bucks. Then paying another 2 or 3 grand or up to 10 grand for the drive itself? This just doesn’t capture my imagination.
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Chris – our proposed workflow:
We have a demo of the 700 but will probably be purchasing 800’s3 photogs with 2 producers acquire on 800’s
Producers get sd cards and use P2 viewer on their desktops to do “paper” edit
Photog/editor tranfers directly from camera to local array of editing system over USB 2.0.
Photog/editor cuts MXF natively on Leitch Velocity Q
Final product is encoded to either DV25 or high bitrate MPEG2 and FTPed to the server for playout.
After a week the local footage is sent to 1.6T NAS – where it sits for about 1-2 months (haven’t done the math yet)
After that it is sent to a Quantum sdlt 600a, which is also on the network, where it will reside until the tape is filled (800gig?)and then finally put on the shelf.We are in the middle of testing all of this out – interesting times….
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[Chris Baldwin] “The 1TB G-Raid will most likely be put on a shelf with the RAW files as the method of archiving.”
I’d say that external raid-0 combination of disks is the most unreliable solution for archiving.
If one of those hard disks inside does not start after couple of years on the shelf, then all footage is lost.
Raid-0 is good for fast on-line editing, but even then I’d make a backup. -
If I shot dvcpro 50 mode on the spx800 onto the p2 cards, and then captured in avid via the spx800 SDI output, would not the video be uncompressd in the same fashion as if I was playing a dvcpro50 tape back on a vtr with SDI output ?
Patrick
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