Graeme Nattress
Forum Replies Created
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1) you need a RAID of drives for the data rate of DVCProHD. P2 uses a RAID of memory cards, which keeps it compact and much less power consumption.
2) because it’s not the value of the card or drive you’re protecting, but the value of the footage on it!
3) because it’s data, you can send a backup off working knowing it will work, so automated backup solutions will make this painless
4) P2 is not the solution to everything.
All I have to do is look at digital photography. People used to use tiny compact flash sized hard drives, but now that memory is so cheap and much faster, it’s completely replaced them. Hard drives and optical discs in cameras are as temporary a solution as tape it. Memory is most definately the way of the future, and Panasonic are very interested in bringing the cost of the cards down, and the HVX200 is the thing that’s going to do it.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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But, by doing the final render in an uncompressed sequence, you don’t loose quality by that final render back to DV and all your effects will look better. By placing a magic chroma filter like G Nicer (From Film Effects) on each DV clip you can boost the chroma nearly up to DigiBeta standards, and hence make a much improved DVD at the expense of the extra render time. Even just adding Apple’s 4:1:1 chroma smoother will help as NTSC DV’s 4:1:1 clashes with DVD’s 4:2:0 quite badly. Smoothing or fixing the chroma first really helps.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Your source tapes are 24p right? Are the 24p normal or 24p advanced? Either way, when capturing you must set FCP to nromal DV NTSC at 29.97fps. You can’t just capture at 24p and hope it will work, because it will not. Do you know which setting was used on the camera??
https://www.kenstone.net/fcp_homepage/24p_in_FCP_nattress.html
Should explain a lot.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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The JVC HD100 does indeed create a 60p MPEG2 file for 24p, but the extra frames are not merely duplicates, but flagged duplicates. That means that in terms of compression efficiency it’s recording just the 24p frames (like it’s something like a 1 byte flag to say that a frame gets duped) but you see a 60p MPEG2 coming out the other end, but it only takes up as much space as a 24p MPEG2 stream. Quite clever really….
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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David, there’s a new plugin going into my Standards Conversion package that will do a very smooth 60i to 24p conversion via slowing down the video so each field of the original gets mapped to a 24p frame, and it looks great. That gives you a lovely 40% slowdown…. I should, with luck, be releasing the new pacakge in the next few days….. But drop me an email if you want to know more.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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DCT processing is hardly intensive in the way that MPEG2 is, so I don’t think “extra time” matters as the codec is already faster than real time without much difficulty.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Sending an area dark is interesting…. But with dark also comes noise, usually…. So it might not be effective at all.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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But you’d drop a generation coming in over HD-SDI into a K2 and setting the codec to DVCproHD…..
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Yes, the frame rate converter does this. Or you can “conform” in Cinema Tools to 23.98fps.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Make sure your timeline is at 23.98fps. Plug in your DV deck and play it out. There’s a timeline preference to add 3:2 pulldown to the output to take it to 29.97fps.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP