[Christopher S. johnson]

The Intensity works with HDV, DVCPRO-HD, and Uncompressed HD at full HD quality. No compromises that I can see. Just make sure and calibrate that home HDTV as much as you can. Maybe even hire an ISF calibration guy for a couple hundred bucks.

-Christopher

[Christopher S. johnson]

Hey guys, that Discovery HD document specifically includes HVX-200 footage WITH the HDV limitations. Only 15% allowed.

-Christopher

[Christopher S. johnson]

I havent seen the HVX noise, so I can only theorize. I have this comment to make:

I have used the Standard Def Panasonic DVX-100 many times and find it to be noisy compared to other cameras. I think this is just a Panasonic thing. On the DVX-100 it actually lends to some of the film-feel of the camera. Many, many producers here in L.A. still love the look with the noise. Perhaps this is analogous to the HVX?

-Christopher

[Christopher S. johnson]

Thanks David.

Sorry I changed the topic to HDV source footage, but David’s comments got me curious. It is remarkable that the FCP software transcode from HDV to DVCPRO HD is better than Component capture to DVCPRO HD (from an already recorded tape).

I wonder if the transcode can happen on the fly during capture over FW? Like when we used to live-transcode DV to OfflineRT a couple of years ago.

Also, I imagine that if my shooter was using the Cannon camera, with HD-SDI out, I would use that if I could and go straight to DVCPRO HD (for the quick turn around pieces).

Thanks again.
Peace back at ya.

-Christopher

[Christopher S. johnson]

David,

So no re-capture. Hmm. Thanks man.

And what if it was a “quick turn-around” show, like an EPK or puff promotional piece? What about transcoding to DVCPRO HD upon capture and doing both the edit and final render there? Then I could even do it on a system without a RAID. All of that would still be superior to rendering in an HDV timeline, right?

-Christopher

[Christopher S. johnson]

David,

What is your HDV workflow? I’m not clear about it.

Thanks,

Christopher

[Christopher S. johnson]

There are lots of things to like about FCP 5, but if you work with still photos allot then you should know that you will lose high quality RT in the timeline Sequence. Instead, no matter how powerful your computer is, you will need to render a still image just to see it at full rez. No olive colored line above stills is available, only bright green and a proxy image that is low rez.

The latest update does not change this. Sorry.

-Christopher Johnson

[Christopher S. johnson]

hi Peter,

Since the DV revolution Cannon has always recorded DV audio strangely. It has never been possible to capture long Cannon clips without going out of sync.

But you say even your short clips are weird? Do they go out of sync? Did you try using ‘FireWire basic’ as your deck control protocol? Just a thought.

If everything is in sync, then perhaps just set your timeline audio to ‘medium quality’ and render the high quality audio at the end of the project.

Let us know what you find out.

-Christopher

[Christopher S. johnson]

As a long time FCP user (since 1.0) I have to call a spade a spade and say that this is unacceptable. There really isn’t a setting that will change this back?

I challenge anyone to find any reasonable opinion in favor of this ‘feature’

-Christopher Johnson

[Christopher S. johnson]

Ah, thanks for the info. That is helpful.

-Christopher