Chris Brown
Forum Replies Created
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For us it usually comes down to our DP’s choice, and what camera they like for whatever look they want. That’s why we’re pretty much format agnostic. In a given year it’s usually an even percentage between HDCAM, P2, XDCAM and Varicam/DVCPRO HD related shoots and edits. We still touch some SDX-900/DVCPRO50 related material as well. We try to make sure we’ve mastered each format’s workflow as best as possible. We had our first Red shoot for a national spot a month ago, and that was a great learning experience. Now we have to see how much Red will become part of our shoots.
Videographer/Editor
Creative Director
Union Digital, Inc.
https://www.uniondigitalmedia.com -
On XDCAM shoots, I’ve done exactly as you specified. It’s a great workflow.
I still disagree on P2. On P2 shoots, we have at least 4 16GB cards on site. That allows us to have a PA use a AG-HPG10 to preview shots with the client on a monitor, and immediately transfer that card to an external hard drive, which we then create a backup of. The shoot never slows down, the client gets instant shot checks and feedback, and at the end of the shoot day, the client leaves with a hard drive of all footage, and we have a backup as well. Goes to the NLE, and they are off and editing.
Just as efficient, and the shoot never stops.
On an XDCAM shoot, we also have a deck for video village, and the client can check shots there as well. At the end of the day, we hand them the disc, and we’re done. However, we usually dump the data on shoot to a hard drive as well, so there is another copy.
Both workflows are great, I just think that you’re short-sighting P2. Just as good and valuable, and we’ve had great success with both, and amazing pictures from both.
Then again, we’re still archaic. We still do a third of our shoots on the F900. HDCAM is still a great format, and the F900 is one of our favorite cameras. Tape is still part of our workflow for a while.
Now the Red…we just did a Blimpie spot on the Red. Talk about gorgeous pictures on that one…
Videographer/Editor
Creative Director
Union Digital, Inc.
https://www.uniondigitalmedia.com -
“…as it will get harder and harder to source laptops with PCMCIA slots.”
You didn’t read my post.
The fact is, like XDCAM, most P2 users are doing:
– direct to camera hard drive dumps of data – running at 25-30MB/sec speeds via Firewire
– transfering direct from camera, like XDCAM, via Firewire or USB 2.0
– using VTR’s or drives, like XDCAM to transfer data.NONE of these methods use a PCMCIA slot in a computer. ALL of the above methods are just as fast, and XDCAM is SHARING those methods.
P2 isn’t about the PC card. XDCAM isn’t completely “about” the blu-ray disc. It’s about recording directly to a storage medium that is not tape, and moving that data fast to a NLE.
Just like Sony, Panasonic is pushing using their devices (VTR’s, camera cable connections, and external drive devices) to move data, not Desktop/Laptop slots.
I don’t care which brand I use. I know that both XDCAM and P2 give me a way to acquire without tape, and BOTH allow me to move that data quickly to an NLE.
Again, look above – you are not required to use a PCMCIA slot in a laptop.
Videographer/Editor
Creative Director
Union Digital, Inc.
https://www.uniondigitalmedia.com -
“You should also consider that currently P2 using a card technology (PCMCIA) that is now no longer supported by most PC manufacturers while XDCAM HD uses a re-useable robust disk. ”
Please, that’s a very short-sighted comment. Yes, this is true in laptops…but a lot of P2 users aren’t using their laptops slots for data transfer.
That’s why you can:
– hook up a hard disk directly to camera and dump data via Firewire or USB 2.0
– transfer via the camera to a PC – a la XDCAM
– use a P2 deck or drive – same as using a XDCAM VTR or driveBoth formats allow you to do the same thing, via same methods. Unless you bought the interal XDCAM drive for your PC, you’re not inserting the media into the PC, you’re using a Sony branded device to transfer the data into your NLE, just like P2.
Videographer/Editor
Creative Director
Union Digital, Inc.
https://www.uniondigitalmedia.com -
AVC on P2 cards works the same way. Just transfer the files and edit. Since it’s an intraframe codec, you’re good to go. No transcoding. FCP now supports AVC-Intra. You could always go to ProRes if you wanted to.
Videographer/Editor
Creative Director
Union Digital, Inc.
https://www.uniondigitalmedia.com -
You need to speak with whomever is receiving the show for distribution. They will let you know what format they need it in, what the timecode format will be, and what needs to be at the front, such as bars/tone, etc. They will also let you know where breaks must be placed, and how long.
Videographer/Editor
Creative Director
Union Digital, Inc.
https://www.uniondigitalmedia.com -
JVC has a studio configuration for their 250 line of cameras. They are also HDV, but you can dock a hard drive on the back for recording as well.
Videographer/Editor
Creative Director
Union Digital, Inc.
https://www.uniondigitalmedia.com -
So your DVD is formated for 4×3 screens? If so, all televisions overscan the image, so you loose the outer 5% or so of the picture. That’s why when you shoot and edit something for television, you make sure you’re action is in the action safe area. The “cutoff” you’re seeing will happen on all TVs. When you’re looking at this on a PC, no overscan cropping occurs, you see the full frame.
Videographer/Editor
Creative Director
Union Digital, Inc.
https://www.uniondigitalmedia.com -
DVCPRO50 is the codec. You will see it in your settings for capture from your Blackmagic card. You can use the DVCPRO50 sequence preset for editing as well. You might want to take a look at ProRes as well. ProRes 422 (not HQ) is great for standard definition. The storage requirements are low, and it doesn’t require a ton of processing power. It runs great on our Quad G5. ProRes is also a native format in Apple Color, so moving there for grading will be good as well in ProRes.
Videographer/Editor
Creative Director
Union Digital, Inc.
https://www.uniondigitalmedia.com -
We do the same. We shoot in HDCAM 1080/23.98, P2 at 720/24pn or on the Red. If the commercial is destined for SD, letterboxed or 4:3, we edit in a 23.98 SD timeline. Our Blackmagic setup adds the pulldown when we master to tape. If you can, stay in a complete 23.98/24 process, and then convert at the end.
That said, if you have all of your other material in 29.97, then I agreem use the Natress solutions. Or do the conversion out of the deck.