Gary Adcock
Forum Replies Created
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[Wolf Austad] “When I read the FAQ at f.ex. AJA’s web site I find the following:”
Wolf,
Thats is the Apple recommended way to handle the offspeed footage.I have been the post instructor at the “Varicamps” for over a year and I show the uncompressed capture process as part of my demos at every camp, mentioning that it is a possible replacement for the Panasonic hardware FRC. ( which can only handle the compressed format.
The setting for proper highest quality uncompressed VFR acquisition is “AJA Kona2: 720p 23.98 10bit Varicam”
[Wolf Austad] “Now, even if I use a Sony SRW-1”
I am not sure the SR-1 records the flagged frames properly from Varicam.[Wolf Austad] “post would still need to digitize this footage and if they can’t ditch the non-flagged frames without going through the DVCPRO HD codec, then I am back to square one.”
Again it is possible to handle the VFR content directly in FCP at a 10bit Uncompressed rate direct from the camera. Using a Kona 2 board.[Wolf Austad] “as far as I know, the Panasonic hardware Frame Rate Converter box also uses the DVCPRO HD codec.”
That is correct .
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[walter biscardi] “I’m doing a DVCPro HD 59.94 capture via HD-SDI to the DVCPro HD codec via my Kona 2. (Easy Setup AJA Kona 2 DVCPro HD 59.94).”
did you update your Kona Driver too?
I have seen a couple of weird anomalies when using the UB version of FCP on a non-intel machine, adn broken drivers are first on the list.gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[tony salgado] “The Sony and Panasonic LCD’s mention are not accurate for color critical work. I used the Panasonic 17″ on location and althought it has a nice image I did not find it suitable for color correction.”
Tony is correct here when we are talking about HD Displays, one of the alternative solutions is from Cine-tal, while not cheap these customized solution LCD’s are being used by a number of facilities to maintain the highest color quality. I have been testing one against a 24″ BVM CRT and been pleasantly surprised by the results and cost (@ about $10K less for the Cine-tal)
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[Jim Carswell] “Does anyone know if the new MacBookPro laptop will work with AJA’s IO products? Looking over AJA’s literature it references Mac desktops but not the new Intel based laptop.”
The Io product line is fully compatible with the new Intel macs, the only thing you need is a FW 400 connection.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[Robb Stan] “I was wondering if there were any uncompressed 720pn sample clips from the Panasonic HVX200 that can be downloaded? I’d like to experiment with different compression settings in FCP5 and the variable frame rate before my HVX200 arrives next week?”
Robb
Barry Green did have some content up on the dvxuser.com website but think about what you are asking? Most the cards start at 4 gigs and that is a HUGE amount of data to drag down from a web site.
Even the smallest of the Demos in HD are 100’s of Megs. of Data.All of the content on the P2 cards is compressed in some manner also. Thats how it fits on the cards.
As for Different compression setting in FCP – the 720/ 1080 content comes in to your mac as DVCPROHD — are you sure you need to look at different compression settings?
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[Wolf Austad] “Requirements would be that the device can read the VITC/UB flags off the HD-SDI stream (preferably with no TC/U-bit deembedders) and be able to ditch the non-flagged frames upon capture.”
All of the Kona HD cards can do the offspeed capture from a Live Varicam in realtime at 8bit, 10bit or any compressed formats available in FCP with no post processing needed.
Note that FCP does not accept master Timecode over HD/SDI so you will need to deal with that drawback in a live capture scenario.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[Don Wilson] ” Record to the Firestore. What is the best way to get the footage into FCP and not have to render. My test has been frustrating. I set the FCP (V 5.0.4.) sequence to 720/24. P2 originated footage is no problem. I used the Panasonic Frame Rate Conversion plug-in and it still wants to render the footage. “
Don
check your sequence settings again. It sounds as if there is a mismatch somewhere. Make sure that you are set to DVCPROHD 720p24 and not something else.
Run the 720p24 easy set up THEN create a new Seq and the footage should be seen correctlygary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[Mark Raudonis] “Not true. We’ve had many users hitting the same file on a regular basis.”
Mark, then it must depend on whether you are working in SD or HD content, The bandwidth is just not there for multiple streams of uncompressed HD in a shared configuration unless the user is willing to drop very, very large amounts of cash.
the adage ” your mileage will vary” holds true.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[Todd Beabout] “Is anyone out there currently using Terrablock (by Facilis) with a multi-workstation environment for shared storage?”
My current unit is connected to 2 fcp, an XP graphics station and occasionally a flame. I share content between all of them without problems via a q-logic switch.
I was able to show a terrablock at an NAB session that took only 30 mintues to configure for multi platform / multi application use, certainly better than the nearly dozen apps Xsan requires to configure a fully populated SAN properly. Add to that I do not hit the bandwidth limits of the 2gig fibre that xsan is still holding onto.[Todd Beabout] “Also, is it possible to share projects between the different stations using Terrablock? I understand that only one system could have a project open at a time.”
That is correct but that is Volume level locking. Even Xsan has some issues with 2 users having the same video file open at once. The work around is to break your project into smaller pieces then use FCP’s ability to have multiple projects open at the same time to recombine them into the finished project.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[toke lahti] “Ok, I’ll ask again: why panasonic chose not to develop quicktime codecs for dvcprohd@25fps & @50fps to be used with NLE’s like FCP in Europe? If you would offer those codecs, people in Europe could buy your cameras. Now they don’t (at least as much) because lack of codecs cripples hvx badly.”
Toke
you keep getting the same answer every time you ask this (this being the 3rd or 4th time I have answered)Asking Panasonic to write code for Apple is a tad foolish don’t you think? Apple writes the code for it’s application even for the FRC plug in for Final Cut Pro.
The codecs are there. Just because Apple did not implement them for FCP, does not mean they are in use everyday around the world in the cameras and with other edit systems.
The DVCPROHD codec is only for 100mbps data,
The DVC/PRO ( DV25) and (DV50) SD codecs work just fine in FCP at both 25p / 50i have been in use for a number of years all over the world.Just because Apple does not currently support 720 @ 25p/50i does not make it Panasonic’s fault.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com