Barry Green
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There’s a PCD10, which has only USB, and then there’s the newer PCD20 which added a FW800 port.
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Look at the line/mic switch on the front of the camera, and if you have a microphone plugged into channel one, make sure that the line/mic switch is set to mic.
Also, if it’s a condensor microphone that needs phantom power, make sure the phantom power switch for channel 1 is set to “on”.
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Get the most from your DVX camera. The DVX Book and DVX DVD are now available on ebay and at Amazon (https://www.fiftv.com/db) -
W.H. Platts should be able to get you hooked up.
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Get the most from your DVX camera. The DVX Book and DVX DVD are now available on ebay and at Amazon (https://www.fiftv.com/db) -
Yeah, how long do you want the shot to be? If the final shot’s only going to be 8 minutes or less, you can easily accomplish that all on just one 8GB card so there’s no need to go in and swap cards out etc. Just do the math; 8 minutes at 720/60p = 60 fps x 60 seconds x 8 = 28,800 frames. Three months = 2,592,000 seconds. So in general you’d want about one frame every 90 seconds, so you’d choose either 1 frame every minute or one frame every 2 minutes.
As for power, that’s a different issue…
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If you’re using something like the PCD20 P2 card drive, and you’ve properly installed the driver and everything, then you should be able to copy each 16GB card over in something like 8 minutes or less, so yes this should all work fine.
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Definitely don’t just “accept” those results, there’s something obviously very wrong. The PCD20, through the FW800 port, should be able to copy cards as fast as your hard disk can accept the data.
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Only HD footage can be in-camera dubbed to the tape.
For SD footage… well, you could plug an HVX into a DV camera and play the DV footage on the cards and dub it onto the other camera’s tape deck… or capture the footage into a computer and then put it back out to tape.
There’s no simple/easy provision for DVCPRO50 though. You’d have to capture that to computer and render it back out as a DV file.
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All I did was import the MXF to a Vegas 1080/24p timeline using Raylight, and then export (using “best” video quality) to an 853×480 24p Quicktime, using the Sorensen 3 codec. No special processing or anything, just a straight export.
If you’ve got Vegas, try doing the same thing. Download the trial/evaluation copy of Raylight, be sure to run it on “blue” quality, and export. Let’s make sure that the process works for you from your footage in *anything*; if it doesn’t work from Vegas then I’d probably have to see your original source footage to see what the problem is.
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The success of downconverting has little to do with the frame dimensions, and more to do with the algorithms you’re using. You should be able to make absolutely fantastic downconverts off of your existing HPX2000 footage.
AFAIK, the HPX2000 will support both AVC-Intra modes, 50-megabit and 100-megabit. But I don’t know that I’d say that either of them is going to make for a noticeably better downconvert than you’d get from DVCPRO-HD already; it just depends on what you’re using to do the conversion.
For example, FCP 4 used to have a really weak scaler, upconverting in FCP looked like dog breath. I could upconvert in Vegas and get something that looked fantastic, but upconverting the same file in FCP was nothing but disappointing. And Premiere 6.5 was just as bad or worse.
Here’s a 10-second Sorensen 3 Quicktime I rendered out from Vegas 6. This was DVCPRO-HD 1080/24p source footage, downconverted and aspect-ratio-changed to 853×480 to make a 16:9 standard-def-res file.
https://www.fiftv.com/HVX200/Guitar.mov
How does this look compared to the kind of results you’ve been getting?
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For clarification, there are two different AVC-based formats coming out.
1) AVC-HD, which was developed jointly by Panasonic and Sony, and is supported also by Canon, Sharp, Samsung, Sanyo, etc. It’s the new format that’s designed to replace HDV; it’s like a “super-HDV”. It has the same long-GOP type of structure as HDV, and the same 4:2:0 color sampling, but then it adds uncompressed audio in 7.1 channels or Dolby Digital AC-3 audio in 5.1 channels, full-raster 1920×1080 recording, support for 720 & 1080, true native 24p recording, and variable bitrates from as low as 6mbps up to as high as 24mbps. It’s a tapeless format; AVC-HD camcorders have been announced or introduced that record to SD memory cards, Memory Stick memory cards, mini-DVDs, and hard disks. Long-GOP AVC is about twice as efficient as MPEG-2, so at 12 megabits it should match HDV, at 24 megabits it should match XDCAM-HD as a recording format.
2) AVC-Intra. This is a Panasonic-only format, the next generation of DVCPRO-HD and D-5. It uses the same 4:2:2 color sampling and the same intraframe-only technology from D-5 and DVCPRO-HD, but uses the advanced compression technology of AVC to reduce the bandwidth requirements to about half of what those earlier formats require.
Totally opposite ends of the video spectrum. AVC-Intra is designed to match D-5 or HDCAM-SR; AVC-HD is designed to match or exceed HDV.
I’ve heard that at least one Panasonic rep wanted to call AVC-Intra “AVCPRO”. Man, that would have made it a lot less confusing, I think: DVCPRO->AVCPRO. But that’s not the way it turned out, so we just have to try to keep it straight: AVC-Intra is for the big cameras and is DVCPRO-HD or D-5 quality; AVC-HD is for the little cameras and is HDV- to- XDCAM-HD quality.
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Get the most from your DVX camera. The DVX Book and DVX DVD are now available on ebay and at Amazon (https://www.fiftv.com/db)