Christopher Wright
Forum Replies Created
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It seems we have moved into the Panny (and Sony realm), especially with your last post. So let’s continue. Since you are using dinosaur metaphors, let me expand the comparison. Sony and Panasonic are the heavy hitting corporate entities that will stick to an old paradigm longer than they should, just as the U.S. car manufacturers did. When they start losing ground on market share and sales, then they will decide to re-examine their corporate strategy. They both tried to maintain the hallowed “3 tiers of product class” consumer, industrial, and professional, until the Sony VX-1000 came along and completely erased the more expensive Industrial product line and base. The HVX-200 with DVCPROHD has done a lot to erase the line between consumer and professional, along with starting the rapid demise of tape-based production. There were very limited runs of the Prius hybrid when they first came out as well. I know, as I paid a deposit on an unknown product (I didn’t even have a guaranteed color selection, just a stated color preference!), waited a year, and finally received a car that wasn’t even on the U.S. manufacturers radar. They are suffering very badly right now, and Toyota is growing by leaps and bounds every day. It pays to be the revolutionary. The lens manufacturers just want to sell lenses, they don’t care to what camera or manufacturer. The ones I talked to at NAB were already working on solutions. I’m sure they will clamor to be outfit with “the other camera.” There will also be new lens manufacturers that will jump to the task as well. I have always supported and embraced change. I bought one of the first “Video Toasters” on the Amiga Platform. I bought the VX-1000 versus a Betacam. I bought Discreet Logic’s Edit* instead of an Avid. I bought the HVX-200 over the highly compressed HDV units. “The other camera” is this type of paradigm shift, like it or not. And yes, you can make art with a pinhole camera or a sketchbook, but give a great artist an even greater tool to work with and watch out!
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I think doka says it best. The HVX-200 is just fine if you need “run and gun,” “autofocus,” “news cam” solutions. Hell, in our market they are still using Hi8 (you can tell by the dropouts!) and miniDV for news stories. The DVCPRO HD format is good enough for the most demanding quality control experts at PBS and the major networks, so use the HVX for that. Spending $50k for anything less than what RED offers is foolish IMHO. I have been in the business long enough, and have seen those $200-100k cameras become doorstops in just a few years. These new Pannys will be no exception. Rent them if you can’t wait for RED. All I know is RED is the only other camera I will ever BUY.
While Ron is correct in the NLE market, the camera market for film work is a totally different animal. A good 35mm film cam and lenses are still as useful today as they were 10 years ago. This is the market for RED.
and BTW Jeremy, I CAN handle 4k content at my studio. You would of course edit in Prores and do final output to 4K if really needed, but the point is, the RED workflow in FCP already exists for RED content. -
Yes I didn’t correct DSE on his post, but the majority of DVCPROHD work is done in Quicktime direct digital transfer from Firestore FS-100 drives or P2 card mxf metadata. I really don’t know any people working with DVCPROHD that are even bothering with decks and firewire anymore. And DVCPROHD is far from even having a hiccup, much less being “dead.”
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I’m afraid,(but happy!), the RED camera will kill anything trying to compete in this price range, and will have far better quality. And the workflow is already ready to go in FCP.
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“Aside from that, DVCProHD is effectively dead…”
You better not tell that to the Motu people. They are betting the farm on DVCPROHD exclusively!!
So I guess the answer is, no DVCPROHD support in Vegas except through Raylight… -
I have shot dance for over 8 years now, and there are basically two types of clients and purposes for doing dance projects. Most choreographers will ALWAYS want a full stage version of their choreography. You can zoom in if a dancer is doing a solo, or two dancers are onstage in close proximity, but you always need to keep both hands AND feet visible in your shot at all times. The coverage with close-ups (thus editing two or more cameras together) is for everyone else. Funders of dance companies, television viewers, film directors, parents of dancers, etc. want to see the EMOTION of the dancers, their facial expressions and the full drama of the piece. It is the same as seeing live opera performances on PBS (using a director, tech director etc., and using an actual switcher to select shots from five or six different cameras), versus a locked down, full stage, “cover-your-ass” ISO camera for a whole shoot. The general public doesn’t want to see another “ants on the stage” version that the choreographers use to gauge what EVERY single dancer is doing at each moment of the performance (many having up to 30 dancers on stage at any one time). The budgets of course are another “how long is a piece of string” analogy. Are you are shooting a high school production, a local dance troupe, a professional company? Is the footage destined for PBS, output to film, You Tube?? Again the quality and usage always determine the bid IMHO.
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The Problem is, I never view DVCPRO HD clips “on the computer screen.” I always have the Kona output to an HD monitor. Before FCP 6, I could import the Quicktime movie of my entire show into a DVCPRO HD 720 project and play it immediately out to my HD Monitor or an HD projector without having to re-render it. This is a major step backwards!!
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that last post should read “import them back into my FCP project”!! :>)
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This is also happening on my dual G5 using the Kona LH card. If you export your 720P 23.98 timeline/sequence to a single Quicktime movie, it changes the aspect from 960 to 1200 as well. I used to be able to render clips out of FCP and export them back into my current project fine. Now you have to re-render the clip again in the timeline to get your realtime playback back again. It sounds like a FCP 6 bug.
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And the Firestore FS-100 still does 254 minutes of HD capture (110GB capacity) for only $1,600.00. I’m still waiting for the “affordable” 64 GB P2 cards! Maybe then I’ll jump! They’ll get there one of these days…