P2 workflow question

[Shane Ross]

You are doing something WAY wrong. You should NOT have to render anything on the timeline. You have chosen the wrong sequence setting.

The sequence setting should match the format you shot with the P2 camera…it should NOT be a Kona sequence. If you shot 720p 24PN, the you choose DVCPRO HD 720p24. If you shot 720p 59.94, then you choose the DVCPRO HD 720p60 setting (and make new sequences). Then you shouldn’t have to render at all. And you can still view via the Kona, all you need to choose is the DVCPRO HD 8-bit 720p 59.94 setting.

Shane

Littlefrog Post
http://www.lfhd.net

[Jeremy Garchow]

Or stick with the DVCPro HD Varicam Kona easy setups that match the frame size/frame rate (in 720p) or choose the DVCPro HD 1080i setup. Be sure to make a new sequence after choosing the proper easy setup.

Jeremy

[Jason Richards]

ok, I tried new settings and still no luck in viewing on timeline in realtime. Here’s my setting in Final Cut.

P2 Camera footage=DVCPRO HD 1080i

FCP Easy Setup = DVCPRO HD 1080i60

FCP Sequence Settings = Frame Size – HDTV 1080i (16:9)
Quicktime Video Setting = DVCPRO HD 1080i60

Import P2 footage, throw on timeline and get the I’m need rendered red bar and can’t view realtime…so i’m really confused here. Why can we grab video live from our sony HDcam into FCP using Kona3 uncompressed 10bit, throw on timeline and its perfect, no rendering and it can’t handle compressed P2 footage ?

Again, thanks for the help Fellas

JR

[Steve Covello]

What they said.

Couple other P2 pieces of advice:

Keep the MXF files on a totally separate drive from the QT media that is created from it. it is your negative. as obvious as that is, I am still amazed some people don’t do it.

If you shoot overcrank at 59.94, be sure the orig media and the frame rate converted reference movies are kept in the same place forever. Otherwise you will have to waste SOOOO much time reconnecting the reference movie data to the original QT. this cannot be done via Reconnect Media either. it’s stupid.

Here’s the DVCProHD frame rate converter utility, in case you don’t already have it:

https://www.panasonic.com/business/provideo/support/fcphd.asp

No batch capability — kinda blows.

steve covello

[Shane Ross]

Do the FRAME RATES match? 29.97?

Here…simple trick for FCP is you are using any version prior to FCP 6:

https://web.mac.com/steelepro/iWeb/steelecuts.com/fcs%20detective/6FD1D5FD-0C56-4F06-992C-902D00556549.html

Shane

Littlefrog Post
http://www.lfhd.net

[Jeremy Garchow]

You are obviously modifying the sequence settings as those are wrong.

If you choose the DVCPro HD 1080i easy setup and then make a new sequence, drop in a clip you will not render.

The proper settings are Frame Size 1280×1080, Aspect: HD (1280×1080) 16:9
Pixel Aspect Ratio: HD (1280×1080)
Field Dominance: Upper
Timebase: 29.97 (f that’s in fact what it is)

Compressor DVCPro HD 1080i60

[Jeremy Garchow]

Oh, and before you get alarmed about the frame size being 1280×1080, DVCPro HD is anamorphic HD format (as are most HD formats, including the almighty HDCam). The signal is squashed then recorded. FCP handles the anamorphic conversion back out to the proper aspect ratio of 16:9.

Jeremy

[Jason Richards]

THANK YOU !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

You’ve made my day, now I don’t hate the P2 as bad..still not digging the DVC Pro, but that was a station decision 🙁 Ha

It was the Frame size that was screwing me, the 1280×1080..not use to that.

1 million thanks to all.

JR

[Jason Richards]

oh, I did have to use the Kona3 DVCPro HD 1080i setting to get it to work..but it does work great.

thanks again for the help

[Jeremy Garchow]

Glad you are up and running.

Give P2 a chance, it’s a different workflow at first, but once you get it, it’s nice.

Jeremy