Chris Baldwin
Forum Replies Created
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I’ll be getting my camera and manual pretty soon but I wanted to ask about this question. How can you shoot in interlace and progressive at the same time? (1080i 30p) The SDX900 sort of makes me ask the same question because it lets you pick between 24p, 30p or 60i but then there is also a sub menu which asks if you want to shoot interlaced or progressive. Its an active choice and the footage doesn’t look any different to me one way or the other. Can Someone explain that one to me?
As for the DVD’s how mch 1080, 720, native and un-native HD content can you put on a 4.7gig DVD? What about a dual layer dvd?
Chris Baldwin
Shoulder High Productions
Media of the World; For the World!
https://www.shoulderhigh.com
newsletters@shoulderhigh.com -
Is the import process a generation loss or signal degradation or just an unwrapping of the mxf to a quicktime file? but regardless as to the original question will the upres occur in final cut or compressor? this question refers to wanting to edit HD from a HVX200 and SD from a SPX800 and output a 720p DVD.
Chris Baldwin
Shoulder High Productions
Media of the World; For the World!
https://www.shoulderhigh.com
newsletters@shoulderhigh.com -
I want to upres Dvcpro50 mxf shot on the SPX800 and edited with 720p footage from a HVX200 and the output a HD Dvd on a 9 gig disk. many shooters tell me they shot with the SDX900 and upres it to cut with a Varicam. If a SPX800 has a HD lens on it shouldn’t it stand up pretty well to the HDX200?
Chris Baldwin
Shoulder High Productions
Media of the World; For the World!
https://www.shoulderhigh.com
newsletters@shoulderhigh.com -
That’s helpful thanks. What is your website by the way?
Chris Baldwin
Shoulder High Productions
Media of the World; For the World!
https://www.shoulderhigh.com
newsletters@shoulderhigh.com -
JAN>>Well Chris that is one way to spin my words, but it also takes out the reality that the Codec chip set with that codec on it will not be small enough to fit. Additionally the NLE systems that support it really do not exist at this point and the only reason that you should change from one to another is for some reason. The different codec will offer the same quality, not better.<< That didn't mean that the camera that replaces the HDV with the H.264 is going to be larger than 1/3" does it? Will the body be getting bigger? CHRIS>4.) The camera of my dreams: {P2; 1080p/i,720p/i, 480p/i, 24/30/60; 2/3″ chip; interchangeable lens with variable frame rates} doesn’t exist and mostly likely won’t until the P2 Varicam comes out 2, 3, maybe 4 years from now) and when it does it probably won’t do SD anyways.
JAN>>It may be 2 or 3 years, but it is not now.<< Come on...which?... 🙂 JAN>>On first recording and no motion, very close. Editing will be vastly more processor heavy on the HDV side. But the 1/2″ camera that I saw the picture on is no way a match for the HDX900 or the Varicam.<< Perhaps you mistyped but I was referring to the XDCAM HD 35Mbps Long GOP not their Prosumer HDV codec. I'm still looking for a way of viewing side by side footage before and after compositing. Or I'm still looking for an objective set of data that says one thing is better than another in these situations but not these. I also just want to finish with a thanks to Jan for taking time to weigh in on this forum. Otherwise we loose a very authoritative opinion and well informed source of knowledge and this forum begins to loose significance. I definitely wasn't trying to spin anything just give "my" understanding and "my" reaction to that understanding. I appreciate the corrections and clarification. As to the issue of "the perfect camera" being 2 or three years away. It goes back to an earlier thread. Most independents need a camera to be marketable and rentable for at least two to three years to pay them off.(including glass and support) So it
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And the “typical Long GOP disadvantages” are … artifacting when put to heavy compositing and layering?
I suppose it’s just worrysome that in all the H.264 literature its mostly described as a delivery format developed by devilery techs.
Actually Apple has a pretty good Brief and FAQ on H.264
https://images.apple.com/quicktime/pdf/H264_Technology_Brief.pdf
But I would love to know if anyone has any experience with capturing in this format.
Chris Baldwin
Shoulder High Productions
Media of the World; For the World!
https://www.shoulderhigh.com
newsletters@shoulderhigh.com -
You know there is another side of the coin here with an optional codec that delivers twice the storage. Isn’t anyone else concerned it will give Panasonic get out a jail for free card over the lagging roll out schedule and supply of their P2 media?
In my reading of many of these threads the big advantage of DVCProHD over HDV or HDXDCAM was the quality and robustness of the image. You paid a premium for P2 media that had enough redundancy that it could reliably capture 100Mbps HD footage. And it has also been my observation and direct experience that many consumers are holding off until the size of the P2 cards reaches at least 16gig and for the transfer speeds to at least double too.
The solution from Panasonic is compromise on the quality of the image we can capture? Well if H.264 is really as close in quality to DVProHD as the press releases suggest then great! What took you so long… but give me the data and means to make sure I can trust that statement.
Chris Baldwin
Shoulder High Productions
Media of the World; For the World!
https://www.shoulderhigh.com
newsletters@shoulderhigh.com -
I supose I’m still looking for the difference in quantitative measures between the HDV, H.264, and DVCPro100. I would hope Panasonic could provide us with some better specifics other than its nearly better and half the size. Can’t HDV’ers and HDXDCAM’ers say the say thing about either of these two formats? (“Well yes the DVCPro100 and H.264 are technichally better formats but they’re twice as big as us…You don’t need all that if…”)
I’m just looking for some actuall numbers and some footage and potentially some trusted descriptions of where each format excells and faulters.
Chris Baldwin
Shoulder High Productions
Media of the World; For the World!
https://www.shoulderhigh.com
newsletters@shoulderhigh.com -
Sorry … I forgot to attach that to my original post.
I won’t be at NAB until Wednesday so I can’t ask them directlt but perhaps we can come up with a few questions for me to report back on…
Any initial reaction to this annoucement?
Chris Baldwin
Shoulder High Productions
Media of the World; For the World!
https://www.shoulderhigh.com
newsletters@shoulderhigh.com -
granted there are only certain clients that will bite on this, but I have had luck convincing a few clients who do their own post production, to purchase the P2 and/or external P2 Hard Drive. Just like them bringing their own tape stock and not paying for a marked up tape. Now again granted this agreement was also reached as a forward looking investment on their part and based on using the HPC2000 not the HVX200. If they are going to spend between $2000 to $7500 on P2 then they probably have the budget to just but the HVX200 themselves. Nevertheless I think for local clients with their own post production facilities, I think its not unreasonable to have the conversation with them to investigate their willingness to purchase their own aquizition media. For out of towners, I’m back to the drawing board of creating Hard Drive Dups but more than likely this means giving them the media after an overnight transfer. It’d be wonderful for my clients across the country if there was a super fast way of transferring them the 100 or so gigs for a full day’s shoot. I think this might be a bit off topic though as it is to my knowledge not fiscally reasonable and probably not fast enough to be logistically reasonable.
Chris Baldwin
Shoulder High Productions
Media of the World; For the World!
https://www.shoulderhigh.com
newsletters@shoulderhigh.com