Barry Green
Forum Replies Created
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What he described is an FCP issue, plain and simple. FCP’s import window has caused issues over and over, and this wrong-frame-rate issue has been reported repeatedly. It’s well known, and as I said in the prior post, it is usually solved (AFAIK) by unclicking the “remove duplicate frames on import” button. What more info should I provide?
If FCP users don’t experience these problems, it’s because they’re going about things the “right way”; that’s all fine and dandy, but still — how can one characterize it as anything *but* an FCP issue, when the issue only occurs in FCP? You must identify the source of the problem before you can fix it. If someone thinks it’s a P2 problem, they’re barking up the wrong tree because the footage is solid.
This particular issue is a mistake on the user’s part only because it’s caused by the FCP import window not knowing intelligently as to when it should or shouldn’t remove duplicate frames. No other app even *has* an import window, nor do they even have an option to click or unclick anything about stripping duplicate frames upon import. Ergo, it is an FCP issue by default.
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[morgster] “but shows record times to be the same as 1080p over 60i…so is it really native?”
Yes, it’s really native. But AVC-Intra is a variable-bitrate codec, DVCPRO-HD is not. So on DVCPRO-HD if you eliminate duplicate frames (as in, 720pN mode) you gain back storage space, with no change in overall quality. With AVC-Intra, it’s possible (don’t know this for certain) that they’re recording just the 24 frames, while maintaining the 100mbps bandwidth. If that’s the case, then you’d actually be looking at milder compression and therefore an increase in overall image clarity.
So, it may be that they implemented it the same way as 720/24pN on DVCPRO-HD and that the actual recording bandwidth is 80mbps and they just didn’t update the stats on the website. Or, it’s possible that they use the full bandwidth and you just get less-compressed footage. Not really sure which way they went.
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[wired2film] “I have a problem with capturing one of these shots that is panning across the ground. The problem is that the footage captures, but when I play it back it looks like it’s skipping. Has anyone experienced this problem and does anyone know the solution? Any help would be greatly appreciated. I have experienced other problems with the P2 card when footage comes in and looks like it was sped up, but I’ve already figured out how to resolve that problem. Unfortunately, that solution doesn’t work in this case.”
None of what you describe here is a P2 card issue. I’d bet fifty bucks you’re using FCP, right? What you’re describing is bugs in FCP, nothing to do with P2. Put the P2 card back in your camera and play the footage and it’ll play perfectly, right? Therefore it’s not a P2 issue, it’s an FCP issue.
Most people with complaints like this find that they can resolve them by un-clicking the “remove duplicate frames upon import” checkbox. If you really want to make all your problems go away, consider getting raylight from dvfilm.com; that’ll fix this and also make it so you never need to ingest footage again.
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Right, it’s “Sarah Landon”. It’s not the first HVX feature though; most of “Jackass 2” was shot on the HVX and obviously received theatrical distribution, but it wasn’t *all* HVX. HVX has made it into films already, like a scene in “The Departed” and a replacement shot for the middle-eastern release of “Munich”, but I think “Sarah Landon” will be the first where it’s all HVX, all cinematic style.
And yes, I think you’re correct that this is the first Redrock M2 film to get national distribution.
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[paul colin] “Hey Barry are you going to publish a book or create a training DVD for the HPX 500?”
It’s definitely in the plans…
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I assume this is a 16GB card? You probably need to update the PCD10’s firmware.
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[Peter Sassi] “The import to QT for FCP in P2 Log is quite slow compared to FCP. Why would I want to try Raylight?”
Why would you want to try Raylight? Because it’s like a magic wand that makes all the FCP/P2 bugs and limitations just disappear. All the complaints we hear here about FCP won’t import this or it won’t import that, blah blah — Raylight makes that all stop.
But it’s infinitely better than that, because you talked about import speed and how FCP’s importing is faster than P2 Log. Well, how would you like instantaneous importing? Let’s say you go out and work in the field shooting this feature for the next few weeks… when you come back to the edit station, instead of ingesting all that footage, how about just editing your picture? Raylight does away with the whole import/ingest process and gives you immediate access to your footage, whether it’s on a hard disk or on a P2 card or whatever. Probably my most highly-recommended tool for Mac users who want to work with P2 footage.
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[Stan Chang] “so hooking up the HVX200 to the monitor, then taking the switch output loop from the monitor to feed my 1200A HDSDI input to the deck to record, should work.”
Will it though? I don’t know if it’ll take a component input and output an SDI signal. Hopefully someone who uses the monitor will write in and let us know, but I wouldn’t just assume that it will.
The way to guarantee that it’d work is to get an AJA component->HDSDI converter. That way it’ll definitely work.
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Well, I wouldn’t use the FireStore if I could avoid it, so you’re kind of on your own with that one. 🙂
But as far as that goes, it depends on your editing platform. The QT format on the FS-100 is only going to work with FCP; if you intend to make your project cross-platform or to edit on a Windows system, you’d definitely choose MXF.
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[Stan Chang] “I had a question concerning the switched output of this monitor?
Feeding the 200 through the 1700 to a HD Deck and recording the HD signal, is this possible?”No, and yes. I think. I’m not an expert on the 1700 monitor, but I believe it doesn’t have component outputs, the only throughput is SDI, isn’t it? So if you hooked up via component from the HVX, I don’t think you could do it.
But yes, you can do it — just put the deck inbetween the camera and monitor. HVX -> deck -> monitor. That’d work. Or, alternately, use a component->HDSDI converter box like the AJA. That way you’d go HVX component -> AJA HDSDI -> monitor HD-SDI -> deck.