Recording on 1200a deck with P2

[Gary Adcock]

[Linda] “In using the P2, but recording directly onto a 1200a deck, is it at all possible to record 1080p?”

Nope

the format the HVX200 is sending out is via FW is 1080i60, the camera itself cannot send anything other than that over the FW bus.

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[Barry Green]

Yes, because 1080p is recorded on the HVX carried within a 1080i data stream, and the 1200A supports recording in 1080i.

So whether you record on the P2 card, or on the deck, the recording will be bit-for-bit identical.

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[Gary Adcock]

[Barry Green] “Yes, because 1080p is recorded on the HVX carried within a 1080i data stream, and the 1200A supports recording in 1080i.”

24 frame content in 1080 is handled in the HVX in the same fashion as it is in the NTSC world. The 24 frame content needs have the pulldown (redundant or duplicate frames) removed from the 60 interlaced fields of the video stream.
The camera will only record the 24 discreet frames without pulldown added on the P2 card in the 720p24PN mode.

your answers will vary when they come from a camera guy (barry) or a post guy (me)

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[Pat Mcgowan]

Hmmmm, we recorded 720 24p on the HVX200 and then digitized via firewire into an AXIO HD box. We set the PPRO job at 720 24p and did not notice any issues.

Are you saying that the camera firewire output generates 1080 60i streams no matter what the aquisition settings?

Should we be working 1080i on the AXIO then?

[Gary Adcock]

[Pat McGowan] “Are you saying that the camera firewire output generates 1080 60i streams no matter what the aquisition settings? Should we be working 1080i on the AXIO then?”

that’s not what I said, The previous posts were about how the hvx200 outputs 1080

The camera by default sends out out whatever video format you are shooting, be that 480, 720 or 1080. The hvx200 additionally can “cross convert” between the 1080 and 720 formats when sending out that data over the component out cable. ( you have to jury rig something to get the audio out via the headphone jack at the same time when using the CMP/OUT.)

REMEMBER the greatest amount of functionality with the 200 is in 720p – you get the most amount of time on the P2 cards, the greatest flexibly with frame rates and functions.
IMHO the camera is optimized for a 720 progressive workflow.

My post workflow centers around staying is the progressive format until it needs to be played in anything else. I work with progressive captures why go interlace ( with it’s larger storage requirements and thru put needs) when I can stay is the relatively low bandwidth (by comparison) 720 progressive.

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Wed April 26th @ the RIO for details go to https://www.lafcpug.org/nab_2006.html