Francois Jean
5
COW Coins
2
DaVinci Coins
Forum Replies Created
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Wow
Quite a funny one
It is more like the vvv pre and post duration
sorry for that
LOL
zap
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Hi Gerry
This is mostly relative to the tape deck newer machine tend to be satisfied with 2 sec preroll
as for older machine (Betacam SP ) needed 5 sec preroll …. 2 inch quad VTR needed 10 sec to lock the image.Nowadays 2 sec is is normal
all the best
zap
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hello creativ_s
I think that when you have one of the best editing codecs in the world ( which Adobe does not have yet … ) by editing codec I mean a codec that will almost not deteriorate in multi-generations situations and that scrolls fluently, I don’t see that this will go away. In any situation it is always wise to use ProRes on ingest and reduce problems. Even DnxHD is far more reducing in quality on the first generation than ProRes. When one gets in multinesting etc … this is crucial. ProRes 4444 is an absolute delight at 330 mb/s it did not show any “aberration” from high end inputs and “image sequence” in a test we did using a “difference composite mode” comparison.Viva Prores
ZAP
PS ThunderBolt should be a great tool to run in ProRes4444 , we are so lucky.
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There is away to do this using “open” quicktime files…
This is describe in TELESTREAM pipeline user guide, but I not shure if you can generate such files without a pipeline.ZAP
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The actual FCP plugin from CANON ( 60D included ) does do a great job of log and transfer + direct convert to PROres in one fast and simple ingest. AVCHD which is usually not intra but long GOP and is base on a 1440 wide to be shown as 1920 …
I would suggest you prefer a good h264 easy to use in FCP prores rather than a good AVCHD easier to use in imovie…regards
zap -
You should not have any trouble going FW800 to your Gdrive then looping out of the Gdrive FW800 to FW400 on the DSR40. DV or DVcam is not very heavy ( 25 mb/s or about 3.2 mB/s ).
zap -
Sorry for the delay,
I would need to know the exact quicktime infos on these .mov clips before any suggestions…
ZAP
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[Harry Pallenberg] “We are looking at getting a Sony XDCAM HD (PDW-700 or 335) camera”
Harry
I have just just read your related post about renewal of equipment…We have been using and experimenting with XD CAM and XD CAM HD422 for long period now and I can assure you that the XD CAM series provides exceptional work flows with Final Cut studio.
But first a note about the camcorders the 335 and 355 are using a half inch imager as the 700 and 800 are using two thirds of an inch imagers, the codec used by later is richer: “mpeg hd 422 @ 50mbps”
If the budget is limited I would choose the PDW 700 since you can use the lenses from your previous camera(s) and would gain from the HD422 codec.
The ingest and mastering can be done directly on optical disk using a non expensive drive unit the PDWU1.
You could still ouput via MXO2 or Kona card or even via MOTU V4HD depending on computer running FCP studio directly to any HD tape deck for screening purpose.
Eventually you could invest in a PDWF1600 but that can wait ( you can even I/O these deck via Ethernet )
Finally a real budget choice could be a XDCAM EX PMW-350 [ two third CCDs ] using pro flash card only for cinematography (8G mem card only to back up original media on cheap DL DVD ) and doing your outputs to optical ProDisk via a PDWU1 drive unit or the PDWF75 XDCAM HD deck .
Wow I hope this can help , we use all this stuff in our facilities, it’s exiting to go tapeless for most of your post.
best regards
ZA P
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[James Nation] “footage that is xdcam hd 720 24p shot at 120mbps”
I’am quite surprised at the bit rate (120 mbps) you mentioned as the this format is normally a maximum 35 mbps standard on the optical disk [ XD CAM HD ] and 50 mbps for [ XD CAM HD422 ].

We have been using about all XD CAM formats at our facility since Sony introduced the format, The first thing we usually do is to DL the “log and transfer” plugin from Sony :Hope it can solve the problem and add missing setting.
ZAP