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Or try ebay
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Avid just added a new P2 tool to Xpress Pro 5.7 which allows you to point at a normal file structure. This means you can finally nest the CONTENTS folders the way you think you should be able too. I think 5.7 is a $50 upgrade and is the best solution. Otherwise, since Avid does not need the lastclip file, you can just keep copying all of your files to the same CONTENTS folder. Windows will prompt you to overwrite the folder, but that does not delete the files that are already there. Try it with some test footage, it does work. The other solution, which is what the P2 Store does, is to make multiple partitions on the drive so that every CONTENTS folder is in the root of it’s own drive letter. Having tried all of these, the upgrade to 5.7 is by far the best.
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Yes, that is the native resolution of the DVCPro HD codec and the mxf files, and yes, it is true HD. Most codec’s use some form of prefiltering to cut down on bandwidth. DVCPro HD is 1280 X 1080 (or 960 X 720), 4:2:2 8-bit color @ 100 mbit/sec, which is 4 times more data than 1440 X 1080 4:2:0 HDV, which is still considered true HD, (even the Sony F900 Cinealta records 1440 X 1080 3:1:1, and most folks consider them to be true HD as well). Only a few cameras like the Grass Valley Viper record “true” 1920 X 1080 4:4:4 10 bit log.
The important thing to remember about resolution is that it only represents the number of samples, not what is being sampled. That is to say it’s just an empty address without any data. It’s the color data at that address that really matters,(well, ok, they’re equally important). That’s why the HVX with it’s codec looks so good.
If you really want to cry, go look up the actual pixel count on the CCD’s in the camera.
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I’m not sure what you’re trying to say and need a little more information. You recorded your footage as mxf to the FS-100, ran “organize P2”, then mounted the drive on your PC and copied all of the files to MXF/1. You then opened the media tool in Xpress ProHD, selected all of the clips and put them in a bin, now when you look in the bin the clips say media offline? Is this correct? You might try refreshing the media directories or unmounting and remounting the drive in Avid. If this doesn’t fix it, please give us a little more specific information and I’ll try to help.
By the way, in the future you may want to point media tool at the FS-100, copy the clips to a bin, and use ‘consolidate in Avid to copy them to the media drive instead of doing it in windows.
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I’ve never actually tried this, so I cannot say for sure if it will work, but it’s worth a try. Maybe Barry knows for sure.
In 30/60 you need to set the camera to 30PN, (must be Native), and the frame rate to 60. I assume that’s still true, but the problem is that there are no 25/50 settings in the camera menu. I believe if you save a scene file to the SD card, then open it on a PC, you can edit the scene file and set values that are not normally available in the camera menus, then re-load the scene file into the camera. -
Hi Steve,
I cannot really claim to be an expert here, so hopefully someone else will jump in if I’ve got this wrong, but I believe the issue here is more semantics than anything else. My understanding is that ‘import’ is Avid speak for convert. If you have an mpeg or QuickTime movie or whatever, you ‘import’ it, which converts it into native Avid files, (MXF or OMF), just like the capture tool does with tape. If your files are already native Avid, they do not need to be ‘imported’, (converted), you just need to point Avid at them. Panasonic P2 files are native Avid MXF format, and are treated just like an Avid media drive. The Avid media tool pre-dates P2 by like a million years or something, and can be used for moving media files between two Avids, i.e. you can ‘consolidate’, (again, Avid speak for copy), the contents of a bin to an external drive, then take it to another Avid and use the Media tool to read it. You can also use the media tool to directly read a P2 card in a PCMCIA slot or even in the camera via the firewire or USB cable, and then edit directly from there without ever copying anything to the Avid media drive. I’ve never had the need, but it saves the ENG guys a lot of time to do it that way.
One thing I find a little annoying about the process is that the ‘Contents’ folder of the P2 card must be in the root of the drive directory. This means if you are out shooting on P2 cards and want to copy them to another drive, like a portable hooked to a laptop, you cannot make separate folders for each card because the media tool will not see them. This is why the P2 Store makes different drive partitions each time you copy a card. I really wish Avid would allow you to browse a normal file structure instead of just pointing at the drive but I’m guessing it might have to do with Mac compatibility. not sure.
I’ll spare you all of my opinions of the Firestore drives, (fortunately I’ve taken my turrets medicine), but I will tell you the way I prefer to use them in the field. If I’m doing fairly short gun and run takes, I shoot to the P2 cards, then set the camera to 1394 host, put the FS-100 in DD mode, and copy the files in between takes. This method is kind of a waste of an FS-100 because it’s really just acting as an over priced battery powered firewire drive, but I have lost WAY too many shots to flakey firewire cables. I still use them as intended when the camera’s on sticks or any time I need a long continuous shot, like a seated interview, but the little four-pin firewire connector on the camera is just a raging disaster waiting to happen. Even on a tripod you really need to tape down the cables and be really careful when panning, and always keep your eye on the red recording dot in the viewfinder. If the cable jiggles during a shot, the FS-100 just quietly stops recording. If you’re foolish enough to be watching your talent/action instead of your gear, you can easily end up with half a shot. But that’s enough ranting for now. My kingdom for a Cineporter!!
Hope this helps.
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I have only used the FS-100’s in HD MXF, and have never tried using OMF files, but I’m guessing the process is the same. It sounds like you are trying to import them, when you need to just directly read them. Connect the FS and put it into DD as you’ve been doing, but open the media tool, (from the ‘tools’ menu), in avid and point to it’s drive letter. Your clips should show up in the media tool. Now you can consolidate them and drag them to a new bin. (if you’re new to Avid, consolidate is Avids way of copying clips to your main media drive).
Hope this helps.
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How are you getting the files into avid? Are you doing a windows copy to the media folder or are you consolidating from the media tool inside avid?
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You’re right Frank, I meant component. I really should proof-read before I post.
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No problem, it’ll work fine. The composite out from the camera is always 60P, (in 720P). When you shoot 24p it’s 24p over 60, when you shoot 24PN, it still comes out of the camera as 60P, but only 24 of 60 frames are recorded. No matter what the frame rate, It’s all the same to the monitor.