Jan Crittenden livingston
Forum Replies Created
-
Firewire 400 is more than adequate for DVCPRO HD, not as sure about the Apple specs though, my 1.67 G4 laptop does pretty well with full frame playback on 720, chokes occasionally on 1080i.
Best,
Jan
Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems -
Set the capture window to 29.97 1080i DVCPRO, and then on the Sequence window there should be a check for removing 2:3:3:2.
Hope this helps,
Jan
Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems -
Set your capture window correctly to 29.97 before you import and the TC should be fine. Set the sequence window to 29.97 and it will be correct.
Best,
Jan
Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems -
Hi Lars,
The HVX records 24P capture in two different ways at 720P. The first selection is 720/24P. Here it records just like the Varicam, there are 60 frames total, with 24 frames that are flagged as the key frames. These frames can be pulled out of the 60 with the frame rate converter that is a plug-in to 5.1.1 or outside of FCP with the Frame Rate converter that is on the HVX200 product page under Resources. Or they can be left in the 60 frame sequence. Just be careful of where you edit as when it is converted to interlace for broadcast you do not want to have edits in the wrong place. For a more complete discussion please see the techincal White Papers on our website, https://www.panasonic.com/business/provideo/app_hd_tech_papers.asp
The second way is to shoot in 24PN. This records just the flagged frames and not the padding. You can add pull-down on your output to tape. This mode has several benefits, the first being that it gives you more time on the P2 card by about 2 1/2 times, instead of 1 minute per GB, you get 2 1/2 minutes per GB. The second benefit is that you can just edit to your abandon, place your edit anywhere. When done, FCP will insert the pull-don necessary at the output for tape. This is the way I would work if I were using the camera.
I hope this helps,
Jan
Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems -
Since you are working with the Firestore and not P2 Cards, I would say do the 1080i/24PA and drop the extra frames on import to FCP. 720/24P on the firewire out put is the very same data rate and you would have to render out the frames with the Frame Rate Converter.
The 1080/24p does have a little more resolution and that will pay you back on the conversion to D5 HD.
Good Luck,
Jan
Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems -
Harry,
It is all about the 1/3″ imager, I have the document and have talked with the engineers. Shane’s experience with the History Channel show is right on the money, you cannot tell, if you have the right shot for the camera. I mean if you are trying to do the wide scenic and passi it off as a Varicam shot, that will not work.
It has nothing to do with the Recording, or Satellite Feeds, it is strictly a means of imposing a quality standard that is easy to understand. They don’t want a full show that is only made of close-ups. ;-)They want shows that tell stories.
Best,
Jan
Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems -
Hi Lars,
The rationale is based on the CCD size and not the recording. Their mandate is strictly based on what is coming off of the chip set. Frankly if wisely used and intercut with the VariCam, it would be had to tell which was what. By that I mean use it for the close-ups and mid shots, and no wide shots.
Best,
Jan
PS. HDV is not 4:1:1 but rather 4:2:0.
Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems -
Obviously from what is said here, the tabs can break but so far I don’t know that there has been a statement from Panasonic that it will or won’t be covered under warranty. Has anyone taken their camera in and had that sort of verdict?
Thanks,
Jan
Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems -
I would concur with Dean that the person running the FS100 didn’t do a P2 Organize before offloading the material as there really should be a problem here unless your machine is underpowered for the task. Should have at least a 1.66 GHz G4 or better, and running at least 5.04, but preferably 5.1.1 FCP. I only say this last part because of the one sympton that you reported about whne you assign the scratch disk to an external drive it crashes. There is something in the system that is problematic here.
Good luck,
Jan
Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems -
[WILSON] ”
Are you saying that footage shot at 1080 25P when imported under the 1080i 50P codek into FCP (as thats the only one that works at all with any of the resolutions as far as I can tell) ends up being 1080 60 htz ie its no longer progressive but interlaced?When the camera captures an image at 25P, it captures 25images. Those images are split across two fields, thus the 50i. It does not end up as 60 HZ it is 50HZ. It was progressive when it started and is progressive on the timeline and will beprofressive when it rolls back out to tape. It is edited frame by frame.
>My issue is that all the frame rates that are available for that camera
1080i 50i
1080i 25P
720P 50P
720P 25P
720P 25N
576i 50i
576 25PI thought that the 1080 would would and am surprized that the Standard Def does not work. I know the 720P is not working today but rumblings are pointing to IBC for that to be resolved. Keep in mind that in Europe 720P was only identified as HD standard at last year’s IBC, so the fact that it was not ready to be supported is no big surprize in my book. I mean why would any company put in the R & D to make something work if it was not a sure thing to become an accepted standard.
>only resolution that is supported is 1080i 25P and that will co me in under the 1080i 50P codek and I assume it works a bit like segmented frame, ie it just uses the interlace as a wrapper to transport the progressive frame and reconstructs to a progressive frame at the other end. Our tests demonstrate that the frames are being played progressively.
That is exactly so.
>We are very impressed with the pictures but with no way to edit it at 720P 50P in FCP its just not a proposition.
Again this is a time based resolution, it will be coming, just not on FCP today.
>We also want to be able to shoot 1080i 24P and keep it progressive we don’t want it to come in as 60i
This is just not going to happen. First your camera will not do it, and second there would be no way to establish the pulldown for one frame in a 50Hz stream. If you need 24P, you will just have to shoot in 25P and slow it down, as they have been doing for years in Europe.
>These issues will have to fixed for it to make any headway in the PAL world.
The first issue, 1080/25P is not an issue.
The second has a solution underway.
The third just defies engineering. You can’t take 24 frames and pulldown in 25 frames. This last “issue” frankly has not stood in the way for many filmmakers who have been using the DVX100 in Europe, including Wim Wenders with Land of Plenty.
Best regards,
Jan
Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems