[Bbalser]

I produce with DVCPRO-HD almost exclusively now. I’ve had to mix someone else’s HDV with my HD before. I captured as native HDV, then used Compressor to convert it to DVCPRO-HD. No problems.

You will have to do some grading, as the HDV and DVCPRO-HD color spaces are more different than you’d expect.

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[Bbalser]

I had this problem on the one occation I had to do a ton of clips at once with Batch Export. I just made several batches, with 25 Sequence each, and it worked fine. Instead of one Batch, I made three, and they went with no problems.

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[Bbalser]

I ordered a copy the minute the Apple Store came back on-line after the NAB presentation. It “estimated” I could have it as early as June 1st. I highly doubt that. I’ve been dealing with Apple since my old Mac Plus was cutting edge. My advice, place your order, and have no expectations.

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[Bbalser]

With the DVX100 you have to shoot 24pAdvanced and capture with the pull-down removal. There’s a really great outline of how to do it on Ken Stone’s site.

Also be aware that the DVX100 footage and HVX200 footage on the same Timeline will look VERY different. I use both cameras, and have vowed to never mix the footage again.

With the DVX100, shooing regular, non-Advanced 24p is there for when you want to edit 60i but have the 24p effect. 24pAdvanced is there for you to do the pull-down removal and edit native 24p.

You can always go into Cinema Tools to conform you DVX100 24p to actualy 24p. Not sure of the details, but I do know a lot of folks use it. I know folks who like it’s results better than the FCP pull-down removal during capture.

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[Bbalser]

Shake, Motion, and After Effects will all give you better slo-mo than FCP. Also, if you had used the AIC instead of native HDV the slo-mo would have come out better. I’ve found tons of reasons to never edit HDV natively always using AIC, and not one reason to edit native HDV.

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[Bbalser]

I belive in the original discussion that both gentlemen were talking about adding “handles” to the clip you want to slo-mo, which you really need to do for effective editing.

The FRC is on the FCP installation DVD, not just on Panny’s site. I’ll say this, the one downloaded from Panny has problems. I’ve had many folks email me about it not showing up when they place it in the FCP plugins folder. I told every one of them installed it from the FCP installation DVD and it worked. I don’t know why.

Varicam (and the DVCPRO-HD/P2 model) don’t do slow-mo in the traditional way, you don’t slow down the speed by a certain percentage in FCP, you use the DVCPRO-HD Frame Rate Converter to conform your overcranked footage to your Sequence editing time base.

BTW, Panny didn’t write that FRC, Apple did. I’ve been told by two individuals at Panny that Panny will NEVER write a single line of code for the Mac, they leave that up to Apple. Thus, why the HVX200 comes with a P2 Viewer for Windows, but not for the Mac. Mac users have to pay an extra $100 to a third party for that luxury.

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[Bbalser]

Traditional data backup tape drives are still the most bullet proof and reliable backup method, giving you more GB for your buck.

Toast 8 can backup to DVDs, but you’ll probably use a ton of DVDs.

You can also back up to a dedicated backup drive.

Since I now use P2, I’m shopping for a good DLT drive. Again, like I stated before, the most reliable and most space for your buck.

I base this on 20 years of being an IT Engineer, and what I’ve seen work and fail in hundredes of Enterprize Level systems from Canada to Puerto Rico and all points between.

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[Bbalser]

Only thing I can think of at this point is trying to save it to a different location, perhaps a different drive. Wierd, should work.

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[Bbalser]

As long as Shake is registered. Very odd, and I can’t seem to duplicate it, but I’m on 5.1.4. Very odd…

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[Bbalser]

It should just find Shake, I’m not aware of having to teach FCP where Shake is. Seems odd. What version of FCP is running on your G5?

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