[Jan Crittenden livingston]

There are other things besides video being recorded, Audio, Thumbnails, meta-data. Basically in 1080i or 720P60 you will get about 1 minute per GB.

Best,

Jan

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

[Jan Crittenden livingston]

[Chris Baldwin] “When can I expect these price reductions?”

Look here: https://catalog2.panasonic.com/webapp/wcs/stores/servlet/ModelDetail?displayTab=O&storeId=11201&catalogId=13051&itemId=68651&catGroupId=14569&modelNo=AJ-SDX900&surfModel=AJ-SDX900

Done and in place. The SPX stays at the same price.

Best,

Jan

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

[Jan Crittenden livingston]

Hi,

What I see is that the FCP is not able to do the 24PA removal even with Cinema Tools, but take a look at DVFilm.com. Marcus VanBavel has done it again. For those of you that don’t remember, Marcus was the first to exract 24 frames from 24PA when we brought out the DVX100. He is now the first to do it on the DV100 footage.

I do believe it will be included with some future release from Apple and others but just not today. So if you ask me, if you need to extract the 24P and edit in a 24P tmeline, check out DVFilm. If you can deal with editing the 24P capture in a 60i time line then shoot 24P and not 24PA.

Hope that helps,

Jan

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

[Jan Crittenden livingston]

Unfortunately whoever posted the clips messed with the Contents folder. FCP will only recognise as Contents folder and all of the other things that go with. the video clips which would be in a folder under CONTENTS, called Video, and the name of the clip would be 002XY.mxf, as an example. But FCP woudl have to see the CONTENTS folder or it will never see the Video Folder, which means that it will never see the video clips.

So you need to go back to the source and get the contents folder.

Best,

Jan

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

[Jan Crittenden livingston]

Hi Rob,

Since you cannot view anything off of your P2 Store, it is strictly a storage and transfer device, there is nothing here to be burned by. I trust you are liking the camera. 😉

Best,

Jan

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

[Jan Crittenden livingston]

[Pat McGowan] “I own two Axio machines and we are balancing a camera purchasing decision for this year: Sony XDCAM or Panasonic P2. If Panasonic wants our business (and the business of several others I should think), it might be a good idea to clarify the file xfer and support issue pretty quick. Oh yeah, there’s also the matter of media storage, archiving etc. since we need to keep pretty much everything we shoot in perpetuity. Anyone from Panasonic or Matrox care to chirp in here?”

Hi Pat, Since I have been chirping in here I guess I will continue. I think that this has either been mentioned here or over on the P2 camcorder forum, the Axio will be supporting with the PPro front end. This has been something in the works for months and should show at NAB. This particular thread has been about a plug-in for PPro so that you don’t need the Axio, This is much different question and I have to respect NDAs in effect.

Best regards,

Jan

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

[Jan Crittenden livingston]

Hi Robby,

And what do you think those unpleasant surprises would be? This thread was about a P2 viewer for a MAC, how would that be unpleasant for you?

Best,

Jan

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

[Jan Crittenden livingston]

Hi,

It will be fine. Have your transfer house bump to HD first, if it needs any sharpening, that can add some at this stage, then roll off to film out. Since you are already finished filming, don’t worry about it. Get it cut and just worry about making the story make sense.

Best,

Jan

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

[Jan Crittenden livingston]

[Neopics] “I just can’t fathom why companies are so attached to non-disclosure agreements when there’s so much risk of losing customers.”

It is to save that company from GROSS embarrassmant should the development stage take them a year instaed of 3 months. And yes it may have the effect you describe but a company’s good name is all they have at the end of the day and you cannot put a price on that.

Hope this helps,

Jan

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

[Jan Crittenden livingston]

Actually that is not even true anymore. Remember that Full Frontal was shot with an interlace camera, the XL-1. Murderball which was just nominated for an Academy award was shot with a DVX100/A NTSC model. November which had a release in theaters last summer was shot on an NTSC DVX100. Mad Hot Ballroom which also had a theatrical release was shot on an NTSC DVX100A. Best Cinematography out of Sundance this year Irag in Fragments was shot on an NTSC DVX100A. So just for Film release is not the same consideration it used to be for PAL. Excellent quality can be had with a Progressive, 24P camera like the NTSC DVX.

Best,

Jan

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