[Gary Adcock]

[javamikey] “Once on set, the reality of using the P2 cards and the time to recycle P2 cards became one challenge of many to come. They get used up too fast on a feature film. The P2 store doesn’t transfer media fast enough to keep up, either.”

P2 cards are like batteries, so you will need to carry a lot of them. 3 or 4 additional cards from the rental house would have solved this problem.

[javamikey] “Still, we suffered problem after problem with things such as reading files, losing files, corrupt files, etc.”
[javamikey] “After three days of trying to make a movie under these circumstances, we had to cease production and send people home in order to stop the bleeding. As you can imagine, we took a serious financial hit over this.”

Better Pre-production would have help you This is a change in the way things work and a reevaluation of your existing workflow is Necessary.

Don;t you really feel that if you had spent a day shooting and testing the camera in a real world situation a couple of weeks prior to the shoot, most of these problems issues could have been resolved?
It seems to me a couple of days of camera rental would have saved you from “sending your crew home”

gary

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[Gary Adcock]

[mccaincow] “shot a documentary on the HVX200 in 720PN24. I imported the P2 cards and they say they are DVCPROHD 720P60 23.98.”

Use the DVCPROHD 720p24 easy setup and then create a new Seq.
and import the footage.

CMD -9 one of the clips and see what the settings are

My guess is you did not shoot in the 720p24PN mode but shot in 720p24 which is handled like varicam as 23.98 content inside the 60fps video.

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[Gary Adcock]

[Michael Garber] “I’m using FCP to color correct some footage captured from D5 1080i 59.94. “

HD is not 7.5 but 0 IRE.

only analog SD should be at 7.5 IRE, Digital video should be at 0

gary

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[Gary Adcock]

[Graeme Nattress] “But there’ll be no word on price until monday morning….”

true and I also think that Scot was offering bait to see if ted would bite..

no chance

gary

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[Gary Adcock]

[Graeme Nattress] “That said, you can read Jim’s comments on the price, and where we see the camera in the marketplace, and come to your own conclusion, or wait until NAB….”

Or you can Join Ted and I as we talk on the future in a session called 2k and Beyond
Saturday at 2pm as part of the NAB Post Production track at NAB

https://nabshow.com/Conferences/sessiondetail.asp?id=1204474

gary

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[Gary Adcock]

[donatello] “Silicon Imaging’s new camera does exist and you can see it at NAB ( not a mock up) .. if you look at the spec’s it exceeds the Varicam & others from chip (1920×1080) to recording ( 10 bit raw files vs 8 bit )”
Existing and shipping are 2 different things, a whole bunch of people here on the Cow and CML said the HVX would never make it to market. Theoretical arguments over who’s is bigger leaves out the fact that not everyone has need
for every bell and whistle. CMOS is still in it’s infancy in the video world (the current versions of CMOS fail all of the NASA tests for recording quality and bit depth)

FYI -the Varicam can record in 10bit (12bit with the H model) in the proper setup.

[donatello] “what is clear is that other then panasonic it’s the smaller/little company that is offering NEW/inventive products and not the same ole video camera head with prism block recording to mpeg “

I know of no Panasonic broadcast cameras that capture mpeg.

gary

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[Gary Adcock]

[Wimpie] “I heard about decklink HD plus card , are there any other solutions ?
Are there any firewire solutions ?”

Note that no other cards offer the hardware acceleration for the DVCPROHD codec the Kona boards do, this can add as many as 4-6 additional tracks of video playback in realtime with the appropriate machine and fast storage. More realtime means less rendering, less waiting.

gary

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[Gary Adcock]

[mykul] “I have read this several times and seems to rely on the use of a 59.94 workflow. This is a problem as I have the 100E model of the JVC cam. When I plug the 720p50 component output from the JVC deck
to the KONA Lhe Card, it simply says: ‘No Video'”

then you need to check the Kona control panel to see that the video in is set to Comp instead of SDI.

[mykul] “Is this something that needs to be written into the driver or is it an easy software configuration?”

I also said you will need to build a custom setup –You Have To go thru the System and Seq settings yourself so that they correspond to a 50p workflow instead of 60p. (and watch the field dominance Apple cannot seem to get that right in 50hrz)

gary

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[Gary Adcock]

[Darryl K] ” I just did a straight FW output from Final Cut Pro to the AJ 1200. I didn’t do any mix downs or print to tape. I tried both 1080i out and 720pn out. Both glitched in the same manor. The glitch always occured in the top left quadrant of the screen. Perhaps it’s a FCP issue. “

Nope
that is a problem with the deck, but without seeing the problem I cannot really answer
what does the glitch look like — blocky or off color & noisy?

I am confused though – I tried both 1080i out and 720pn out.
You changed the settings and made sure that FCP was outputting the video correctly?
how are you monitoring the footage ( over FW has a number of issues)

How about a full explanation of the footage, frame rates and settings.
You cannot treat HD as if it is DV footage, It is a sure path to disaster.

gary

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[Gary Adcock]

[mykul] “This works a treat but then I am stuck with the problem of monitoring!!! The Kona card will output still frames but does not output the full motion image.”

You have to build a custom setting that will be supported by the Kona, Since you are getting a still frame it is working correctly, you just do not have FCP set properly for 25p/ 50i because apple did not make it easy for anyone outside of the US to work in FCP.

The process for handling 25fps is identical to the process for handling the 24p material from JVC.
It can be found on the aja web site at https://aja.com/pdfs/AJA_whitepaper_HDV.pdf

but you will need to build a 25fps setting for the Kona to accommodate your workflow.

gary

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