[David Battistella]

In ten bit uncompressed you will have to render 3 way CC. even with the fastest raid drives. I am not sure if theis is a QT or AJA software liimitation or hardware limitation.

I know that the RT etreme engine will not hanldle it.

So, Buy twice as much storage plus 10percent for good measure and have a render party.

David

Peace and Love 🙂

[David Battistella]

Fine,

Goo Firewire. Going in SDI froma prerecorded DVCPRO HD source is a waste of space. The quality does not get any better by going HD-SDI it just means that is will nt degrade through multigenerational rendering.

You can make a beautiful HD DVD stayin in the codec or you could eventually bring it to a house with FCP and a KONA and they could OP right to HDCAM SR. Just amke your movie and then worry about the final OP’s when you get the film finished.

Cut it all DVCPROHD native and go with GRAID’s

David

Peace and Love 🙂

[David Battistella]

I would guess that you might be wanting to record the DVCPRO HD stream via the firewire cable. This means attachinga recorder (like the 1200A) to the camera. The camera and firewire were not really built for this purpose. Firewire is limited to about 15 feet, very impractical distance.

I’d say you would be better off JAM SYNCING the camera’s and recording to a Firestore, unless the HVX has an HD-SDI output that carries the RP-188 TC stream.

I guess the real question is; Does the HVX output TC and picture via the firewire stream while it is recording to P2? if this is the case there will be a way to record directly to FCP.

David

Peace and Love 🙂

[David Battistella]

Time code handling is a problem with FCP. I still own an aurora Igniter board that has TC input on the breakout box for this very reason. The HVX is not a “pro” lvel camera so it is difficult to ask them to put a TC I/O into the side of that (already tiny) camera.

You can now slave mulitple camera’s with the HVX and scene files and TC can be synced together.

You can download the manual here:

https://catalog2.panasonic.com/webapp/wcs/stores/servlet/ModelDetail?storeId=11201&catalogId=13051&modelNo=AG-HVX200

The instructions are on page 58 of the user manual.

The problem is not on the camera end it is on the FCP end. Just jamsync a bunch of cameras. So this is doable in a multicamera situation.

As far as your producers go, jamsnyc the camera’s to “tIme of day” and have them look at their watch.

To make this work flawlessly have your sound recordist rent a TC generator and send the signal to all of the channel 2 inputs of the camera (timecode is an audio signal) and then have him send that code (via RS422 to FCP capture as well).

I can see why you have not recieved answers and I think it is because your post is still unclear. You go on about standards and what people expect but you do not clearly explain the workflow.

Do you want the same code going from the HVX to FCP via Batch capture on the Fly? You can only input one source, Is that source a liine cut?

Were your questions about exaclty what you are trying to accomplish more clear, I am certain you would find much more help and maybe even your preffered experts will kick in.

I am sorry I am not Jan or Gary but these are Public forums and there are many people who can offer their “free advice” and take the time, even when the questions are SO ambigious.

David

Peace and Love 🙂

[David Battistella]

What are you trying to accomplish?

David

Peace and Love 🙂

[David Battistella]

It’s the option or control key and just drg the track(s).

David

Peace and Love 🙂

[David Battistella]

Why would you downconvert. The 24 fps Varicam footage is about 5.5mbs compared to DV at 3.8 mbs. I would just edit the whole film in the native DVCPRO HD resolution, invest in an HD card and an HD monitor. The drives you own can handle the Varicam Data rates. This is the huge advantage to working with Panasonic HD.

David

Peace and Love 🙂

[David Battistella]

Check to see that the Channel condition lights are not red. It sounds to me like this is a channel condition error. That could mean one of two things. Make sure you are locked to external sync.

OR

Try this.

When you are attempting to play back the tape be sure that you only have the OUTPUT of the K2 going to the INPUT of the D-beta deck. You will notice problems if you ahve the decks input and output hooked up at the same time.

WHen I output without a BB gen I only send the OUTPUT of the K-Box to the D-Beta. To watch it back I unhook the OUTPUT and watch.

Try that too, but look at those channel condition lights. This is probably because you are trying to OP without the DECK and the KONA locked to the same black (sync) source.

David

Peace and Love 🙂

[David Battistella]

FCP only uses a MAX of 2gig of RAM so 4 gig in your machine is a big helper. The other to think about is increasing the size of the waveform cache file. This might allot more Application RAM towards doing things like drawing waveforms for you.

David

Peace and Love 🙂

[David Battistella]

I would rather have Panny come up with a way to make DVtape a Data backup solution.

That would be awesome. Let me give you a scenario.

As the P2 cards are being recorded the full one is transfering to the DV deck ( as a tape data drive)

As the tapes fill up you can just add a new tape and the P2 cards are smart enough to offload and reformat even as the other card is being recorded. (this way having two P2 cards is a really attractive idea, even at the high price) and we still use inexpensive tape as a backup.

Wait! There is more.

What if we could data transfer the DV (data) tape to anything we want via firewire. This means that if I brought a panny DV deck into the field I could be creating backups or “client masters” on the fly. Then my tapes just go on the shelf.

How about taking that a step further now. We don’t need to hand anything but a DV data master to a network. They can upload that to their server and encode to whatever data stream (probably mpeg 2) that they want.

Wait.

All of the metadata that is recodered to the P2 cards gets carried over to even the final edits in the program, then networks can extract that data for searchaable archive footage database.

What else you ask? I knew you’d ask that.

The HVX200a comes with 1/3 inch interchangable lens mount giving users more creative choice besides a not wide enough, not tight enough zoom lens. No mini 35 adapters to worry about. Offer a custom order with F mount or cannon mounts so you can really use those SLR lenses you invested in.

Wow! That was fun!

Now back to life and the hard reality that the people making the technology don’t really let the people who use it do a lot of the inventing.

🙂

David

Peace and Love 🙂