Barry Green
Forum Replies Created
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That’s how DVCPRO-HD did it, yes, but I was talking about how AVC-Intra 50-megabit pre-filters. With AVC-Intra at 50 megabits you get 1440×1080 or 960×720. With AVC-Intra at 100 megabits it’s full-raster 1920×1080 or 1280×720.
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I had a Chrosziel and had a difficult time getting it to line up properly, as well as having vignetting issues with my 0.6x lens and it wouldn’t properly fit around the front of my 1.6x lens. I sold it and got the Vocas instead, and all is perfection now.
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Raylight can fix those files so they play in proper slow motion.
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If you’re using FCP, use the Quicktime mode. If you’re using any other editor, use the MXF mode.
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[Tim Kolb] “If I’m not mistaken, I was under the impression that AVC Intra was full frame res…”
AVC-Intra at the “production quality” 100mbps rate is full-frame res, 1920×1080 or 1280×720. But in the “economy” 50mbps mode it does the same type of pre-filtering as DVCPRO-HD; 1440×1080 or 960×720.
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Converting the footage to ProRes doesn’t give it 10-bit depth though. It’s still 8-bit footage, carried in a 10-bit basket. Just like the EX1 and XHG1/XLH1’s HD-SDI output, those are 10-bit streams (because the HD-SDI spec is for 10 bits) but they only use 8 bits, the last 2 bits are set to zero.
So once you bring it into a 10-bit codec you’ll be able to do transitions and grading in 10-bit steps, but you’ll still be working from an 8-bit source. 256 levels of gray, not 1024. It’s better to do grading in a 10-bit system of course, I’m just saying that it doesn’t magically “become” 10-bit, it’s still an 8-bit source.
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FCP screwed up. They introduced a bug (either in 6.0.2 or QT 7.3) which won’t recognize priorly-imported footage.
If you still have the MXF files you can re-convert them. Or you can forever ditch this problem by going with Raylight. Or you can wait for Apple to fix the bug they introduced.
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I had a chance to put the 500, 2000, and 3000 through an uncontrolled but reasonable test at a trade show. I used the same tripod and same lens and swapped the three different bodies out, all shooting to 1080/25p DVCPRO-HD, all with detail mid-level, etc.
The 2100 is notably sharper than the 500, and the 3000 is another notable jump up. And that’s with the pre-filtered DVCPRO-HD codec chopping down to 1440; at full native 1920 with AVC-HD it’d likely be yet another notch up. John Bowring and Ian Bates said the 3000 was a visual match for the Sony F23 at 1/4 the price; John said it wiped the floor with the F900R.
Yes, if you pay more you will get more. The difference in noise between the 500 and 2100 was significant, with the 2100 being notably cleaner. Not much if any difference in noise between the 2100 and 3000. All seemed in the same ballpark as far as sensitivity. But in terms of sharpness the 3000 was quite a bit sharper than the 2100, which was quite a bit sharper than the 500.
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Yes you can do it. Did you remember to move the P2/TAPE switch to TAPE mode?
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Of course we’ve tried all those types of things. None of them work, none will ever work. The only options to replace P2 would clearly advertise themselves as being P2-compatible.
There are hard disk recorders (like the CitiDisk and FireStore FS-100), you can record freely to a laptop through firewire so you don’t even need any cards.
If you want cheaper P2 cards, just wait. The 4GB card, that initially cost $2,000, is now being sold used for around $250. The 8GB card started out at $2750, it’s now down to $550. 16GB cards are on the market at $900, and 32GB cards are coming out in a few weeks at $1650. The price per gig is falling constantly; you can pick up cheaper 4GB cards off ebay as people upgrade to larger cards.