[Ed Dooley]

And also make sure you know what they mean when they say “stream”. True streaming video will
not work on a regular everyday http web site, it needs to be on a streaming server. If what they/you
mean is that the video will play after enough of it is buffered, then that’s progressive download video.
The WMV *and* QT route is a good one.
Ed

[Ed Dooley]

I use the LaCie. It only has FW800 (3 of them). It’s one of the most common to use, I think.
Lacie.com
or OWC has them too
https://eshop.macsales.com/shop/firewire/add-ons-and-hubs/pci-pcmcia-cards
Ed

[Ed Dooley]

You’re right Mitch,
They have the Intel AIC, which, as you said *doesn’t* support SSC. I misread it.
Ed

[Ed Dooley]

Jeremy,
The SSC issue has been discussed quite a bit at barefeats.com. Hitachi also came out with a number of their drives SSC-enabled
a while ago, and after OEM complaints, they offered non SSC versions of those models. SeriTek’s SATA card(s) also have an SSC Chip
on them. Do a “SSC” search on barefeats.com, a number of articles about ti show up, along with drive recommendations.
Ed

[JeremyG] “Alright, now what do I do? I am not going to be purchasing 500 Gig Hitachi’s as this is going to be a mobile rig and once I am done using the drives, they are going up on a shelf to be replaced with new drives. I simply don’t need the 1TB of space for these kinds of gigs. I’l probably be getting 160-250 Gig drives, depending on the job. I will probably go with Hitachi as it’s what I know and am used to, are there any in those sizes that I need to look out for that have SSC enabled?”

[Ed Dooley]

Use BitVice (or do you have Compressor?) I also use Compression Master.
Ed

[Ed Dooley]

Ditto Crucial
Ed

[Ed Dooley]

I’m always thinking that I’ll be sitting on a beach in Europe editing a long-form uncompressed 8bit project, so I’d want the
fastest PB/Mac Book SATA option. So far my overseas editing has meant editing a DVCPro50 project in my home-town in Ireland (in between the pub visits),
so throughput hasn’t been an issue. I’m looking forward to the MacBook/Sata 3/4 cards, but it will probably be used for
some HDV project that could be done on the slowest FW drive. 🙂
ED

[Ed Dooley]

Here’s something fromanother forum to answer the Discovery part:
Ed

The document was written by Josh Derby who is Discovery’s Manager of Technical Standards and Operations.

The memo is as follows:

Panasonic P2 technology represents the next generation of acquisition formats, cameras that record files to re-usable media and enable truly tapeless production and post production. The day for that technology is certainly coming but there are questions as to whether its time has tryly arrived. P2 cards are expensive and are in no way disposable, nor are they intended to be stored as camera masters. As DCI requires producers to deliver original camera masters for all original and comissioned projects, the concept of fixed media poses a challenge. There may be a time in the future where DCI will be prepared to handle digital file-based delivery from its producers but until that time P2 will be governed by the following restrictions.

1. Material captured using P2 for commissions and original productions must be cloned to an approved tape format for final delivery to DCI. Tapes should be cloned in such a way as to ensure that they are properly referenced in the program’s final EDL or NLE project with proper timecode and tape name.

2. The program producer must demonstrate that workflow cost savings achieved by using the P2 format will cancel the expense of the transfer to tape.

3.Material for standard definition must be captured on P2 in the DVCPRO 50 codec. Material for high definition programs must be captured in the DVCPRO 100 codec.

4. The Panasonic HVX200 camera, which can record video in HD standards onto P2 media, has not been approved for unrestricted HD acquisition. While this camera records HD video onto the recording media the optical performance of the camera is closer to the performance of an HDV than to a oprofessional 2/3″ camera system. Consequently, HD media captured using this camera will be governed by the HDV guidelines. The HVX200 may be used in the DVCPRO format for unrestricted Standard Definition capture.

[Mike Schrengohst] Elwood asked: “Anbody broadcast this stuff on Discovery 100% of the episode?

Not yet, DCI approved short B-roll segments for a show.
Their attitude is they want all the “raw tapes” in this case there
are no tapes. But you could rent a Pana 1200 DVCPRO HD deck
and dump all the P2 stuff back to a tape later on.”

[Ed Dooley]

Barefeats.com did a test with this adapter a while back. The one interesting thing they ran into was that
the card worked much slower on a PB from October 2005 compared to an older 2004 PB. The cardbus slot
seems to be the culprit.

https://www.barefeats.com/hard65.html

Ed

[Ed Dooley]

Bonjour Martin,
Votre Anglais est tres bon. Mais ne devriez-vous pas etre dans les rues s’ameutant au lieu d’etre ici? 🙂
Your English is way better than my French!

We’re trying to decide on the best camera for our needs too. My original thought (before the camera was released) that the HVX-200 was the best
camera for my company’s needs has changed somewhat. The positives are still: The DVCPro-HD codec, familiarity
with its smaller cousin, the DVX-100. Now since the camera’s release, and there have been some real-world comparisons,
some of the pre-release hype hasn’t lived up to the expectations. The 960×540 chip with Spatial Offset is a little underwhelming,
(comparing it to other companies solutions) the noise and low-light performance too. Some very respected people in this business have chosen the HVX200, but some have chosen the Canon, as well as the JVC H100. Right at this moment, for me (por moi), I’ll be seeing what happens at NAB.
While I think the P2 route is great, it’s not as convenient as some say, for us anyway. We do a fair amount of run-and-gun shooting, and to
buy enough expensive P2 cards is prohibitive. Maybe the Firestore or CinePorter will make it all OK.
Not meaning to start anything here. I’m just laying out the issues for my company’s specific needs. It comes down to the JVC or Panny
for me right now. And I’m thinking just a little about the new, more expensive SONY XDCams.
Ed