Gary Adcock
Forum Replies Created
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[Kevin Wild] “My $.02, after seeing the Z1, is that the Canon’s HDV matches the best with the Panny HVX200 due to some things they did and some great glass. BUT again…this is a percent or two. All are great cameras…don’t get caught up in all these charts and tests people are putting up. “
Anyone with the proper knowledge can make any of these cameras do what ever they need them to do, it is in the hands of a true pro that the differences really show. Canon has produced a great camera, but with out any supporting decks the camera has very limited use in a post world. Tape is no good when there is nothing to play it back in other than a camera -HDSDI out or not.
the HVX200 offers a shooter more controls,true hd capture of every single frame, higher usability do to multiple formats in HD and SD, in addition to the ability to shoot 24 fps and offspeed content. No other camera under 200K offers all of these possibilities.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Dave Snowdy] “In the LH installation guide, it mentions striping to Raid 50 on an XRAID, which would create one drive. Is this necessary for all resolutions? Can I get by with 2 Raid 5 drives for SD 10bit to get started?”
2 separate xRaid – Raid 5 volumes will be fine for your SD work, raid 50 offers a little more protection.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[jiri vrozina] “I just find it amazing if I ask on 30th of December about CCD,I am getting no answers.”
It is only Dec 29th here in the US and the camera has just being released today.
Panasonic has not released the CCD info, other than to say that it is a 1080p60 imager and that they (like everyone else) are using offsets to increase the detail.
There are numerous examples of the content available online DVXUSER.com is a good place to start.It is not a 2/3″ interlaced CCD, the HVX200 uses a 1/3″ progressive CCD
Your results will vary with user experience and abilities.
Opinions vary will too,
If you are used to working in HDV or with a Full Size HD camera you may see a difference from what you have worked with before.Remember that If you are not working on a truly HD capable monitor for preview it will never be a fare analysis. VHS even looks good on an cheap display.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Jeff18876] “He says we should peak our audio at -12db in FCP and then at 0db on Beta. he says that if we go above -12db in FCP then the signal sounds distorted. Which I think is mostly due to the junk speakers he has in his suite. “
Sorry no meat on that bone.. the old guy does know what he is talking about.
Part of the problem is the difference with analog audio (in SP) vs Digital audio (in FCP). Remember that analog audio could (and did) go above 0db whereas Digital Audio (in FCP) clips hard above 0db.
So in the BetaSP analog world audio can go above 0db, going above 0db would cause distortion but not clip until much higher. In the Digital Realm 0db is a HARD ceiling. I actually have my clients set their audio to -18db instead of -12db.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[David Cherniack] “You should realy do a check on someone when you feel the urge to explain what a field is to them. Irregardless, you just don’t seem want to accept that Axio and PPro can be frame – no let me say ‘field’ accurate. Fine. There’s precious little I can add to that discussion then.”
Sorry if you’re offended David, as a leader I try and post so that everyone know what I am endeavoring to talk about.
I have had to clean up more than one project that was booted from broadcast because it ended on the wrong field. (and it is my understanding the PPro by itself cannot edit at the field level)I have also explained that what I keep talking about in inherent in the FW protocols within the hardware, not with any application or platform combination. I do not know of a single company -Adobe, Apple, Avid or whomever that claims that FW is 100% accurate at deck serial protocols.
I am glad that it works for you, I can assure you however does not work for a large number of people and I believe that anyone attempting to work in ANY compressed codec in HD understand all of the possible problems they may encounter. This is one of many that crop up when working with HDV content.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[David Cherniack] “Gary, in fact the downconverted and HDV clips were captured on different computers. PPro and the Z1 were the same, however, so you may well be right that different software and decks will do things with varying degrees of accuracy. My experience however, would seem to invalidate your general statement that capturing via firewire is not frame accurate”
David, I am going to imagine that I have experience on a wider variety of hardware and software, I have been the person fixing HDV captured when it has failed the network standards for transmission because it landed a field off. (that would be 1/2 a frame).
In the working world that I live in, FW is not considered frame accurate even for SD, ergo it cannot be any better for HDV. I will not live with a +/- variance of somewhere between 2-5 frames with device control over FW when I can use serial control and get guaranteed accuracy.
Let me also state that I come from “real” HD, I get to work with VariCam, HDcam, SR, Viper and other hi-end solutions. I think that HDV is a great beginning step for DV shooters, but I see it for what it is, and unfortunately it is a consumer format.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[David Cherniack] “In my tests I captured from the Z1 via FW a DV downconvert, then captured via firewire the same material – pans of birds in flight – as HDV. Frame Accurate every single time.”
the hardware spec for FW does not include the ability to lock to a SYNC signal. The FW spec for deck control varies for different computers and devices. The inherent latency of the FW protocols vary from.5 tro more than 4.5 frames depending on cable length, machine, number of devices on the chain, where or not there is a sync signal
That you recaptured material on the same machine twice via FW does not mean that it is frame accurate for editing, Not for a professional editor. It does mean that your machine can recapture the same content in the same manner from the same device consistently. Move that content to a different machine or transfer that as an EDL to some other machine – and I have more than serious doubts that it would have the same accuracy.
[David Cherniack] “There’s no inherent reason why captures from firewire, mpeg or mjpeg shouldn’t be frame accurate. The t/c is inherent in the signal”
In theory david you are correct. but there is a lot of fudge in the way different manufacturers handle the data flow and that means that every single device protocol is a little different.This is not an issue with Timecode. it is an issue with serial data protocols being converted to FW and back again.
And it is not a MAC vs PC debate –it is a hardware issue independent of both of those things.Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Rick Lavon] “Would you recommend this setup for the ATTO Celerity card as well?”
YES…
the 4G card requires the 4 slot for proper performance.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[David Cherniack] “I don’t know why you say this. My tests with HDV and Matrox Axio show frame accuracy on re-ingestion.”
Sony’s HDV is a 12 or 15 frame Long GOP structure does not accurately represent the data prior to it being recorded to tape.
I too can capture HDV shot content in an uncompressed state, but even that capture shows the Mpeg encoding to missing some relevant temporal data when compared to the very same non-HDV captured content.In a pro-editing environment having one real ( I frame ) every 15 frames ( 12 for PAL) during any capture is not what I would call frame accurate, not in my editing environment. Editing in the Native HDV codecs (over FW) require the computer to regenerate the “missing” info.
Additionally since FW control is not Frame accurate on any platform and with only one Tape deck ( from JVC) offering RS 422 serial deck control for editing purposes, how can any FW (1394) editing be frame accurate? The protocol you are using for your deck control is only accurate to 3 frames under optimal conditions.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA -
[Bob Zelin] “the
TH50PHD8UK Plasma, and the widely advertised BT-LH1700 LCD monitor. Yet they are available NO WHERE, and they have been advertised for months now. “Bob
who are you trying to get it from? I have been using the 17′ display for 4 months, and I got it thru a local (chicago) dealer. The 50in Plasma have been shipping for about 2 months ( I think).I just ordered another 17 for the road.
Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA