Chris Cardno
Forum Replies Created
-
Agreed. As with any workflow or production process I’d default to the old adage: “If it ain’t broke, don’t fix it. And if it is broke, check the Cow.”
Chris Cardno
Visual Edge Productions
Bethesda, MD -
And update number 2:
The client was using an AJ-PCD20, transferring via Firewire 800. There were no issues in the field and they have had no issues since importing the files into FCS2.
So…17″ Macbook Pro with ExpressCard slot + AJ-PCD20 + Firewire + Snow Leopard = apparently successful workflow for P2.
Yay. Now we just need to buy a $2,000 P2 card reader while we wait for Duel to bring out new drivers. Which I’m sure they’ll get to just as soon as Beelzebub starts serving Slushies.
Chris Cardno
Visual Edge Productions
Bethesda, MD -
Okay, update number 1:
* Their 15″ MacBookPro was not the newest iteration, it was the type that still has the ExpressCard slot. They did install Snow Leopard but did NOT install Rosetta.
* They were using the Panasonic 5-card reader and transferring over Firewire using the Finder. They don’t know the model number of the card reader but they’re going to get back to me later today.
* They’ve had no issues whatsoever getting the footage loaded into Final Cut, but they have NOT upgraded to FCS3 — they’re still using 6.06.Chris Cardno
Visual Edge Productions
Bethesda, MD -
Michael, I agree with you, leaping into a new operating system when you have a stable workflow already in place is not a good idea — we haven’t made the move to Snow Leopard, nor have we upgraded our Final Cut system, at this time simply because I don’t want to spend the next few months posting in various forums trying to find workarounds and glitch fixes. However, Apple devotees seem to have a lemming attitude to new hardware and software: “Shiny! New! Must have now!”
🙂
I’m going to call the client in a little while and find out what system they were running and if they’ve come across any issues yet. I’ll update when I have some definitive answers.
Chris Cardno
Visual Edge Productions
Bethesda, MD -
I’m now puzzled — I just had a crew get back in from a shoot with an HPX500 and the client transferred in the field with their PCD20 (we think, I wasn’t there to confirm) and they HAD installed Snow Leopard. The lack of screaming makes me think that they were able to transfer successfully.
Is this only an issue if you start to engage the footage with software? Or are you looking at a complete kernel panic like our friends with SxS cards are experiencing?
And, more importantly…HOW THE FRAK DID NOBODY SEE THIS COMING AT PANASONIC AND SONY?!?
Sorry. Had to get that out of my system.
Chris Cardno
Visual Edge Productions
Bethesda, MD -
We’ve replaced the filter wheels on two of our three HDX900s. One jammed between NDs, the other just began to spin uselessly. We had to pay for the first repair (1 month out of warranty…) and the second, on a newer camera, was free.
There was no damage done to the camera to cause the issue, the gear just failed — like someone mentioned above, I did hear that they were replacing the shoddy plastic gear with metal and there was a hint that Panasonic had distributed an internal memo on the problem.
The repair was quick, though, with the New Jersey office getting us the camera back in a few days including shipping.
Chris Cardno
Visual Edge Productions
Bethesda, MD -
Phil, the safe assumption is a gigabyte/minute for transfer. There are tools out there that can make this quicker but planning for the worst case is usually a good move…
You do have to keep in mind that unless you’re going to have a lot of cards, or are only shooting as much memory as you own, then to transfer the footage using the camera is going to leave you without a camera to shoot with. Having a standalone transfer unit (Duel Adapter, the P2 transfer units made by Panasonic, even the old P2 Store will work) is preferable.
Finally, while you can just drag and drop or use P2CMS for free I’d recommend Shotput from Imagine Products to automate the transfer. It’s a steal at $90, allows you to transfer to three different hard drives at once and verifies as it moves the data.
Chris Cardno
Visual Edge Productions
Bethesda, MD -
John, your post echoes a lot of what I’m hearing and seeing from camera owners and operators and rental houses. The diversification of formats and standards, coupled with the limitations of proprietary systems, are causing headaches for everyone and reticence to invest in new cameras and move forward — and that should be the primary alarm bell ringing in the heads of Panasonic and Sony.
The problem as I see it is that image acquisition technology is now equitable to computer technology and is advancing at the same speed. Moore’s Law starts to come into play and while that’s fine if we’re talking cell phones and Netbooks it’s a horror show when we’re discussing $30,000 cameras. Like you, we’ve had calls from clients who want to shoot with the latest and greatest gear and if we don’t have it we’re either going to lose the job/rental or have to sub-rent and say goodbye to actually making any money.
I think RED’s idea of selling “brains” is fascinating but, like you said, there are issues that just doesn’t appear to be compatible for every type of shooting. Panasonic and Sony don’t appear to be moving in that direction but they’re kind of like oil tankers out at sea, it takes a loooong time for them to make course corrections due to their size. Given the speed of technology and the grumbling they must be hearing from their customers I have to assume that their R&D is working on next generation solutions.
Which brings me back to your original point: the problem of systems. The next generations cannot be proprietary data acquisition formats. Data is data. Editors reduce everything to 1s and 0s, we’re used to transferring footage to hard drives from P2 and SxS cards, the ability to digitize footage from whatever tape format it was shot on is a concern for every producer/production company. The camera manufacturers need to realize two things:
1. Nobody cares how the images end up in the edit room, they just need to get there.
2. There are a LOT of very smart computer people out there who understand how to capture, move and wrangle data and when they start working on this it’s going to become as diversified as computer accessories.Point 1 is not to say that nobody cares about the image — that HAS to be the largest concern for all. However, once the decision is made to move forward with the tool that captures the quality of image required the data acquisition just has to be safe, reliable and efficient. Which brings to me to Point 2 and two handy examples: Convergent Design and AJA? With the Flash XDR and NanoFlash from CD and the Ki-Pro from AJA we’re seeing a shift towards third party capturing tools. This is a field that’s going to expand because all we’re talking about is data: 101010101010. That’s it. And, as I said, there are a lot of clever people who spend all their time thinking about the best way to get data from one place to the other safely, securely and without problems.
Sony and Panasonic cannot (I hope) be thinking that they are going to be able to control data capture and the capture medium — that ship has sailed and was always going to do so. It’s a part of their business that they’re going to have to let go. Instead, they need to focus on the part that made us buy their cameras in the first place. Image. Give us the best image possible. After that, sure, if you’ve got the best capture device/codec/future doohickey, yeah, we’ll buy that as well.
While I’m stunned to be typing this in 2009 our Sony DXC-D50, like yours, John, is beginning to look like a prescient camera system. Imaging Block + Acquisition Device = Flexibility. And as we try and do business in an industry that’s evolving now as quickly as the computer industry, flexibility is going to be key.
Chris Cardno
Visual Edge Productions
https://www.visualedge.tv
Bethesda, MD -
The ‘F’ series was the original Varicam and the ‘H’ was a later and slightly upgraded version, although I think the upgrade was simply because there was better tech at the time not a significant overhaul of the camera. From what I was told a long time ago (that’s code for “I may be remembering this wrong and steering you in the wrong direction”) the only differences between a Varicam for Europe and one for the US was the electrical wiring inside as there are different standards and codes.
Oh, and the Varicams sold in Europe appreciate soccer.
Chris Cardno
Visual Edge Productions
Bethesda, MD -
Does anyone really think that this technology is still going to be in use in 10 years? I can’t imagine we’ll still be shooting P2 and SxS in it’s current incarnation in 2019, we’ll be on to something else by then. Actually, we’ll probably be on to something else by 2011 at the current speed of technology. Given that, I’m happy to pay less for tech right now.
Just so long as we finally get the hover-cars and meals in pill form, that’s all I’m asking for…
Chris Cardno
Visual Edge Productions
Bethesda, MD