Jan Crittenden livingston
Forum Replies Created
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Hi,
The current Panasonic push is to keep only that which is viable, not just what you use. Good Heavens that would be ridiculous. For example, if shooting an actor and it takes hime 23 takes to get it and you use take 22 and 23, do you need to save takes 1-21? No. But if you are shooting something like a presidential campaign and anytime you have the candidate in the shot, those would be viable. The point in your archive is that you only keep the stuff that you will use and not the bad unusable stuff.
Good to know about the Exabyte being able to load in just the clips you want, as I am not as familiar with this as I am the Quantum.
Best to all,
Jan
Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems -
Hi,
Prior to PP3 Adobe supported this deck in DVCPRO. Might be worth a call to the Premiere help desk.
Best,
Jan
Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems -
Per,
If you read the responses to the original post you will see that many point to the potential issues that the poster was not paying attention to in his original green screen work, like lighting, scene file set up. Nowhere in the thread does it show that there are lots of people having the problem, it is one guy that has something out of whack in his set-up and the rest are suggestions on how to fix his set-up. And some of the suggestions are to use a different keyer, as they are not all built equally.
I do not have an uncompressed still as all of the green screen I have is in the DVCPRO HD codec.
You can choose to believe what you wish about the pixel offset, but your assumptions may not be correct. Turning the detail all the way down on a key is a mistake.
All the best,
JanJan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems -
If the camera loses power while shooting it will corrupt the clip, but you may be able to repair the clip in the camera. There is a repair clip function there in the MCR menus.
Good luck,
Jan
Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems -
[Per Holmes] “I should only add, that the halo could also be caused by the pixel shifting process. As I understand it, the native CCDs in the HVX are actually not very high resolution, and the higher resolution is gained by interleaving these signals, which logically implies that some technical assumptions about being made about a certain chroma value the same way 4:2:2 makes assumptions about chroms”
Hi Per,
Your explanation of the Pixel Shift says that you believe that there is a actual pixel to pixel match up somewhere, this is not true. What comes off of the CCD is an ANALOG signal, the offset is made to capture the areas of the green CCD which are non-photosensitive, the registers, and this is done with the red and blue CCDs. They are then clocked back into time and a snapshot is taken at 1080P. It is at this time the signal is changed into the digital domain. And BTW, this process is practiced by a good number of manufacturers in their Standard Def Cameras and have been doing so since 1990 or so and also in a couple of the small HD cameras but only on the Horizontal Domain.
As many have pointed out in this thread, Green screen with the HVX200 is a real breeze. There is something in your process, setup, lighting, or whatever that is causing your problem. I suggested that you back off your detail, and while you feel that might have been a “is the power on” sort of a remark, I note that Barry Green, who is one person that I feel probably knows the camera better than I do, also suggested the same along with another reference to a customer that does a lot of green screen work with the HVX200. And your reply to him is that there are lots of people all over the internet that are having a problem. Hmm, I have not found them. Would you post a couple of those threads?
In the meantime my offer to the fellow above with my frame grab is open to you as well, just send me an email with your email address in it and I will upload it to yousendit.com.
Best regards,
Jan
Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems -
[Per Holmes] “Resolution: 1080i/30p
Detail Level: -7
V Detail Level: -7”Hi,
Not sure why you think the settings for detail should be so soft, but my gut level says that is part of what may be working against you. Detail will help you in defining the edge and basially the chromakey hole that needs to be cut. By taking the detail to such a low place, basically you are working against the process.
Hope this helps,
Jan
Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems -
[Nate Stephens] “Jan, can you post that freeze frame of your blonde girl chromakeyed over fire.
I should be able to use it to sleep better and encourage my co-workers that this P2 path is the right path that we are starting on this week.”
Hi if you send me your email address I will send it to you via yousendit.com
I do not have a personal website of FTP server but yousendit works well in these applications.
crittendenj at u..panasonic.com
Best,
Jan
Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems -
Hi Per,
If for some reason you cannot pull a good green green with the 200 then there must something wrong with the way you have lit the subject or have set up your camera’s menus. I have a freeze frame of a girl with blond hair flowing in the wind so that there are individual strands, and even those fine hairs are cut out without any of the artifacts that you mention. She is standing in front of a wall of fire. Now the setup on the camera was right out of the box with all of the defaults in place. The freeze fram looks fabulous.
So you should take another look at the way you have the camera set up, or the way you have lit the subject. It isn’t the camera causing the problem.
Best regards,
Jan
Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems -
Here it is guys:
https://eww.pavc.panasonic.co.jp/pro-av/support/desk/e/download.htm#quicktimeAll the best,
Jan
Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems -
[hallwaypd] “But some issues such as using the outdated PCMCIA structure that most computer manufacturers no longer support and the still high cost and limited storage capacity. Granted the later will change, but it leaves the door open for exploitation by companies like Sony.”
Hi Chad,
Another way to look at the CardBusII slot is that it is a proven performer and as such is so reliable that its integrity is beyond any doubt. Over the lifetime of this slot it has probably seen over 30 million insertions on a worlwide basis and in that it is a MATURE interface. The PCMCIA organization does not say it shouldn’t bbe used, it say there is no further need for development. From our perspective, it feels much more solid to use something that is tried and true and has been working well, than to use something new that does not have the same robust track record.
Frankly I fully believe that P2 is here to stay and will continue its domination in the Tapeless workflow field. We now have 4 HD cameras that use it along with 2 SD cameras, one of course has been discontinued. Yes the product is onld enough to have discontinued a model, it has been out for 4 years.
If I were you, I would add a couple of cameras, start small with either the HVX200 or the HPX500, and start with those rentals. But before you start your rental program, take the time to understand the tapeless workflow. Once you do that you will be able to rent it and in fact will come to understand why most guys that are using P2, would really hate going back to tape. Tape is nice, but slow and expensive.
Best,
Jan
Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems