problems importing panasonic p2 format?

[Hhv_pro]

PPro doesn’t support any of Panasonic’s format (P2/DvCproHd/50). There are third party software/hardware plug in available, but you have to decide if it’s worth the trouble when you have native support in FCP.
It’s not supported in CS3 either…

[Steven L. gotz]

Cineform Aspect HD will help you.

Steven

https://www.stevengotz.com

[Tim Kolb]

Panasonic and Apple have a very exclusive deal and the DVC ProHD codec isn’t available outside of FCP.

However, CineForm products can import DVC ProHD MXF files (P2) and change them from 8 bit linear constant bitrate DVC ProHD files to 8 or 10 bit, full raster, variable bitrate files for post.

I’ve done it…it works well.

TimK,
Director,
Kolb Productions,

Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net

[Marcus Van bavel]

Use DVFilm Raylight https://dvfilm.com/raylight and you can bring the MXF files directly into Premiere Pro 2.0 or CS3.

Except for the trademark DVCPROHD is not exclusive to Panasonic, it’s a SMPTE standard (370M). The MXF file format is defined in SMPTE 377M.

[Bill Buchanan]

The mxf codec appears to be available with Avid Liquid Chrome Xe and AJA’s LHe.

Bill Buchanan
Buchanan Film Co.

[Hhv_pro]

Apple knows how to create a Media campaign. Avid has done far better job with P2/HDV/DVCProHD/50 implementation but because of Apple hype it sounds like no one is supporting the P2 (other then Apple). I hope Adobe learns from Apple and give me Native support for these P2 formats before it’s too late.

Now Apple is jumping on with RED ONE… let’s see how that’s go…

[Tim Kolb]

[hhv_pro] “I hope Adobe learns from Apple and give me Native support for these P2 formats before it’s too late.

Now Apple is jumping on with RED ONE… let’s see how that’s go…”

Apple is transcoding RedCode for the moment…which, considering the speed of current harddrives will have to stay highly compressed…CineForm will almost certainly handle RED footage ingest once it’s released…I can’t imagine they wouldn’t.

However, like Panasonic, RED made an early agreement with Apple, and Apple had a very loud rollout of a workflow that, at the moment is simply transcoding to a computer-based codec. CineForm running in PPro is also a post production codec and handles P2 ingest quite easily as well.

Editing DVC ProHD native is definitely convenient, but camera acquisition formats are necessarily hobbled when designed to be recorded on tape. They need to be highly compressed of course, but few people seem to mention that 8 bit, linear grayscale footage doesn’t take much color correction before you start to see banding in gradients. The fact that these codecs have to be constant bitrate doesn’t optimize them for efficiency or variable action either. Moving this type of footage into a 10 bit environment allows a lot more room to move.

Of course, RAW formats like RED and Silicon Imaging (CineForm) aren’t restricted by 8 bit colorspace or CBR…or even a linear grayscale as they don’t record to tape.

TimK,
Director,
Kolb Productions,

Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net

[Mike Cohen]

So once you have edited you show, let’s say using Cineform on the PC in Premiere, then what do you do with it?
Can you make a DVCPRO HD, HDCAM or XDCAM master from that? This assumes you have an SDI interface.
I guess the same goes for HDV – if you edit that in Cineform or Apple codedc how do you go back to a tape?

Mike Cohen