[Jan Crittenden livingston]

Thanks Tom, appreciate the fact that you liked the set-up.

Best,

Jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

[toke lahti] “Considering how long we Europeans have been eg. without 4:2:0 chroma smoothing in FCP, why Panasonic chose not to develop dvcprohd@25p qt-codecs by itself and offer them to their customers (like me)?
This should have happen over a year ago…”

Hi Uli,

Normally I understand your requests, but this one I do not. Why not start a new thread with this one. But before your do, I will tell you that DVCPRO HD at 50mbps looks awful, that was were we started in 1997 and felt if there was ever to be market share 100mbs was the lowest that we could take it and be frame independent. DVCPRO HD at 25 would be really unacceptable, and if that is the gist of your post don’t bother starting a new thread. Keep in mind that the DVCPRO codec in PAL land is 4:1:1.

Best,

Jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

Hi Tim,

While I can fully understand your situation, I can also say that it is not Shane’s nor anyone at the Cow’s job to influence Apple. Most manufacturers do want to make products that customers want and for the 4 days I was a NAB, when someone started to pour out a similar problem to me, I directed them to Apple as only they will do something different if they are convinced that customers want it.

If I took lots of notes and then forwarded them to Apple telling them that Tim Maloney really wanted this feature set, they would take it in but I think straight from the customer is vastly more effective. So here I suggest that you make your request at Apple directly. And this is true for all of the folks that find a feature that they would like Apple to add.

Best regards,

Jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

Hi Peter,

It will record it as DVCPRO50, however the flag information will not be there so your extraction will be manual anf you will need to identify the A frame on every clip for the Cinema tools. Or you can just edit in 60i.

Hope that helps,

Jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

It will do up convert without any additional cards.

Best,

Jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

Zacklg:just curious as to the conversions you are speaking of after the info hits the ccds. and i guess which specific mode of shooting this 1080p/60 comment is in reference to.

This is the stage where the signal comes off of the CCDs, has gone through the spatial offset process and then is turned into a digital signal. It is captured as a 1080P picture, which is why I mentioned it in response to the comment from Shane as he said it was a 720P native camera, if anything it is 1080P camera. The CCDs are not 1080 but indeed the circuitry grabs the pictures coming off of the CCD at 1080P. This is not a recording mode but rather a capture mode. Then after the camera functions like color and detail are handled, it is then moved into the format of choice, like 720P or 480i or 1080i/24P. In the 24P modes thes are capture at the front end in the correct capture rate and thus the 24P will have the right “look” for 24P.

>with regards to the 720p/24pn. it just seems like such a drop in data info to expect a pretty film print from. knowing that the 1080/60 stuff is at 100mps and the 720p/24pn is under 75.

The drop in data is not because of a drop in quality. The 100mbs in DVCPRO HD is based on 60 frames per second. When recording in the 24PN mode only the the 24 frames are recorded. This means that 24/60ths of the data are being recording. The frames them selves are still the same size as if there were 60. So if we do the math then, we divide the 100mbs by 60 which gives us 1.66Mbs per frame. Multiply that by 24 and you end up with 40Mbs for the 24 frames. This means that in that same amount of memory you can store 2.5 times as much footage as that in 24P over 60P like the VariCam.

>this sitch is such a peculiar debate amongst ourselves. the camera offers this nice high quality output, but doesn’t allow a true comfy edit.

Not sure what you mean here. The edit is very simple, you can either shoot in 720P/24PN, gain more time at 2.5 minutes per gigibyte. You can shoot in 1080i/24PA and extract out but this will cost you at 1 minute a gigabyte. Both of these are handled very easily on the edit side, you just need to make decisions before you start.

Hope that helps,

Jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

Actually Shane the camera captures the signal as it comes off of the CCD as a 1080P/60 signal and then all conversions are made from there. THe 720P/24PN is a very cool mode though with its ability to offer quality with reduced data requirements.

Best,

Jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

This is excellent news Kathlyn, Shane was such an asset to our booth at NAB. Great to have you up there Shane!

Best,

jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

It is only drive that stores data, but it doesn’t have the ability to write the 100mbs from the HVX. The Panasonic cameras it is referencing have to be the MPEG cameras from the consumer side of the house. It was the write speed that was the first hurdle for Focus to cross when bring the FS-100 into reality.

Hope this helps,

Jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Jan Crittenden livingston]

[zacklg] ” What about the issue of FCP importing 1080 24PA footage as 29.97? We would like to edit at 24 so when we output to film it is a smooth process, frame for frame.”

While I have not done it, I imagine much like the SD product, you set up the capture as the 29.97 rate, then set your sequence to 23.98, with a check on the remove 2:3:3:2 pulldown. Then import Panasonic P2 and by the time the stuff is in the bin it is 24P. Anybody have 5.1 loaded.

I just got mine and I don’t have my camera back from NAB just yet so my actual testing is a couple of days away. If you have both to access Zack try this and see what happens, I do believe it to be correct.

Best,

jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems