Barry Green
Forum Replies Created
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Might have been shot in Squeeze mode, or with the anamorphic adapter.
Try changing the clip’s pixel aspect ratio to 1.2:1 and see if you prefer the look; if so, edit it as if it was 16×9 footage (because it is).
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[matthew Romanis] “Can you direct me to weight and dimension info on the HVX.
I don’t know the exact specs. It’s the same size as a Z1, and at ResFest Jan said the weight was within two ounces of a Sony FX1.
[matthew Romanis] “Some of my colleagues jokingly refer to the HVX 200 at the moment as “Vapour-ware”.”
Real working models are being allowed for hands-on use on the ResFest tour around the US. So it’s not vaporware, there’s a working (although preliminary) model available for people to use. I think you probably wisely saved your $2500 AUD by not going to IBC, as that was an even-more-preliminary stage than the current ResFest tour is.There’s supposed to be more footage released about six weeks from now.
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[matthew Romanis] “The camera is already rather large in comparison to Z-1 and such”
Actually the camera is basically the exact same size and weight as a Z1.
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There is a limiter which is designed to control exactly the situation you describe. Just go into the menus and turn ALC to ON. ALC does not do automatic level control, it’s the Automatic Limiter Control. It prevents your loud audio signals from going into overmodulation and distorting.
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There’s no audio sync issue with a DVX100A…
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[doka15] “It’s good to know that it will be able to handle that.”
The hdforindies report about that is definitely incorrect. The HVX absolutely will output all modes (DV, DVCPRO25, DVCPRO50, and DVCPRO-HD) through firewire. FocusInfo has already announced plans to build a FireStore that will record the DVCPRO50 and DVCPRO-HD output from the firewire port.
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[Blub] “It was such an easy joke…”
Yes, it could have been phrased better, but you know what I meant…
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[Ron Shook] “You must have some very specialized productions that’ll allow you to shoot for 8 or 16 minutes and then stand around for a nearly like amount of time while you use the camera to purge the cards for the next few minutes of shooting?
TV commercials, corporate films, training videos and independent films, mainly. Scripted stuff. I wouldn’t call that “specialized”, I’d call it common. But I don’t do live-event shooting. And yes, in scripted shooting you spend a lot more time in lighting, dressing, blocking, rehearsing, etc than you do shooting. You set up for half an hour, you shoot two to five minutes worth of footage, and then you move on to the next setup. There’s easily enough time between half-hour setups to offload cards if that’s what you need to do. Five minutes of footage would be offloaded in two or three minutes max.
And that’s not the only way to do it either. You could just as easily use a laptop computer and a bus-powered USB2 drive, and use the laptop to offload it (which means the camera would never be “out of play,” since the cards are hot-swappable). It’s not hard, and if it’s important to you, you’ll easily find a way to accomodate it. Unless you’re talking about shooting a football game or something like that — in a situation like that, the P2 workflow may not make sense. But if you absolutely had to do it in a longform situation like that, the belt-mounted P2 Store would accomodate you. The FireStore would probably be a better choice, but the P2 Store is there for those who need it.
90 percent of production would demand an external station to off load 1 card while the other is recording, whether this station is jury-rigged or not.”
90 percent? That’s a pretty high statistic. Are you including things like weddings in that? I’ve been doing this for a while, and other than some all-day convention shoots, I don’t think I’ve been involved in many (any?) productions that couldn’t be adapted to the P2 workflow.
Obviously it won’t work for some uses. But then, for those uses, there’s always the FireStore option. And dubbing a FireStore over to a cheap external hard drive (that could be handed to a client) will be infinitely faster than digitizing tapes. Might take a little time at the end of the day, but so does breaking down gear and loading the truck and all that other stuff. Start the transfer before you start the end-of-day wrap; the Firestore would be transferred long before the set is fully wrapped.
And besides, what’s the alternative? HDV? What do you do if you go out and shoot a day’s worth of HDV tapes and hand those over to a client, only to discover that they can’t use ’em? As in, you shoot on your JVC HD100, and the client has a Sony deck — oops. Can’t use it. Or you shoot on your Canon XL H1, and the client only has a JVC deck — oops. Won’t work. Those tapes are useless to the client at that point (unless you expect them to buy/rent other equipment just to view your footage, or you expect to have dual gear so you can satisfy both modes of HDV, having to choose your format based on what the client uses).
By comparison, a FAT32 hard disk could be read on any Mac or PC… seems like the safer, more universal format. Not to mention the enormous workflow benefits of having instant random access to all the footage (without dropouts, too) vs. having a box of tapes that all need to be scanned, logged, and digitized, which will take time and equipment…
[Ron Shook] “It means having an AC power source near to the production
Maybe, maybe not. For all we know, perhaps the HVX can bus-power a USB2 hard disk. But even if not, it’s a rare production where we don’t have access to AC. If you’re talking about making a documentary backpacking through the Himalayas, then AC would be a problem, sure — and P2 would probably not be the right solution for something like that. But I sincerely doubt that the proverbial “backpacking through the Himalayas documentary” accounts for 90% of the production going on out there! And if those are the type of circumstances you find yourself in — well, there’s always the battery-powered P2 Store device for those (relatively rare) circumstances.an extra crew member, who can’t be a dumb mule, to do the dump to disk and slep cards back and forth
Well, again, maybe, maybe not. This role is already a common role in film shoots, it’s the role of 2nd camera assistant (who, on film, loads and unloads film magazines; loading/unloading P2 cards is directly comparable). But — seriously, it’s hardly a full-time position! In dramatic narrative production we rarely ever shoot more than an hour’s footage over the course of a full day. Rarely ever. With an hour of footage, that would mean offloading P2 cards twice during a 10-hour production day (assuming shooting 720/24p) or four times per day if shooting 1080. With 720, you’d offload once during lunch, and once at the end of the day. With 1080, it’s four times per day, maximum. Does that really need a dedicated crew member spending all day to shlep and dump and copy and whatever? Sounds like massive overkill to me.And, how much of that hour’s worth of footage you generate is garbage? With P2, if you’ve got a shot that was ruined, you can instantly delete it, thus delaying the time when you need to offload cards. It’s entirely possible that you could shoot a full day’s worth of scripted, dramatic/narrative production in 720/24p and not have to offload the cards *at all* throughout a full production day, if you delete the unusable takes as you go…
Again, if you’re shooting eight hours of footage each day, then P2 is not the solution for you. But is that really what you’re shooting?
I guess it breaks down to this: if it’s a shoot where film could have been used, then the P2 solution can be easily integrated. If it’s the type of shoot where so much footage is generated that nobody would ever have considered film then P2 is probably not the right solution (but that still doesn’t rule out the HVX, seeing as you can use the FireStore or direct streaming to a computer etc).
So it’s up to you to examine what you’re shooting, and then determine whether a P2-based workflow can work for your particular shooting requirements.
It’s true that P2 is not yet practical for every possible circumstance. But it can work in a *lot* of shooting environments; and if you like the camera and you like the features and you like the DVCPRO-HD footage, then you’ll find a way to make it work. And it probably won’t be nearly as hard as you fear.
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[doka15] Tape and firewire out will not give you 720 @ 24p from what I have read.
Tape will not record high-def or DVCPRO50, but firewire output definitely will.
But if the firewire out is only going to be 60i then they are forcing you to buy the P2 cards to do anything other then 60i, unless what I have read is incorrect.
What you have read is incorrect (or not understood). The camera outputs everything as firewire, so you get DV, DVCPRO25, DVCPRO50, or DVCPRO-HD out the firewire port. The firewire data stream for 720p is either 720/60p (with frame-removal flags) or 1080/60i (for either 60i, 30p, or 24p with 2:3 or 2:3:3:2 pulldown). It’s exactly the same way as the DVX or XL2 handle their 24P modes.
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[Brian SaenzDeViteri] “this means that I can shoot on the P2 cards until they are full, plug an external hard drive (Firewire/USB 2.0 combo such as Maxtor, Lacie, etc) into the camera via it’s USB 2.0 port and download the P2 content to the hard drives without the use of a laptop or other device?”
Correct.
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