Jan Crittenden livingston
Forum Replies Created
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The only way the MAC is going to know that it is supposed to open P2 files is if there are still in the same file structure they were in when residing on the P2 Card. So the Contents folder needs to be visible to the MAC. So let’s say I have P2 Card and I transferred it to the HDD and filed it under a folder named Card 1. Under that I would have saved the CONTENTS folder, complete and not messed with at all. So when using the Import P2 command, I would direct the MAC to the Card 1 folder and open that and that is where I would stop. The mac would then see the rest based on seeing the CONTENTS folder.
Hope that helps,
Jan
Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems -
Chris Elley: First Issue: The most troubling was that some of my shots experienced extreme jitter in playback in Final Cut Pro. I did not notice the jitter while shooting through the viewfinder or LCD. I do not recall playing back the shots in camera, so my first playback look was in FCP.
Hi Chris, I would love to see the footage, can you drag and drop your Contents folder from the P2 onto a DVD and send it to me. I can’t visualize the problem. So send it to me here:
Jan Crittenden Livingston
Panasonic Broadcast
One Panasonic Way, 2E-7
Secaucus, NJ 07094>Second issue: I took a number of shots of traffic coming to and from the camera. On one of the traffic shots (with headlights, taillights and traffic signals), it was as if someone had put a cross filter on the lens. Every single point of light in the image (there were many) was a 6-point star, across the board. This is interesting, because this only happened in a single shot out of probably ten from that very same camera position. I do recall seeing this phenomenon in the viewfinder at the time of shooting. My next shot was something on the ground. When I came back up to shoot traffic again, the star filter effect was not there.
This I do not see as a problem but one of video, it is one of the telltales of somthing being shot with video vs. film, so you just need to know what to look for. It is the same as the IT chip and its vertical smear. It doesn’t always happen but it is a certain set of conditions that make it happen.
>Third issue: This is less of a technical malfunction and more of an observation. I noticed that the camera is not sensitive to partially lit areas and has a tendency to dump them off to black. An example is a large walkway leading up to our state capitol. It is lined with pedestrian lamp posts that bounce light off of the pinkish walkway. None of the walkway showed in the camera, no matter what my iris setting was. It was simply all black. I am not disturbed by this, as I’ve seen only a couple handheld cameras perform better than this at that location, but I would appreciate any advice on capturing partially lit subjects at night.
Well the only way that you can learn and gain control is knowing how you got the results you did get. So, if that set got this, then what else could you change to alter the picture? Redestal? Gamma Mode? Little of both? Iris combination? Shutter speed?
Include these on another DVD so that I can take a look.
The only one that bothers me here is the description of the first. Please also include the settings that you had your camera operating in, along with shutter speeds, which frame rate? etc. Have you been able to recreate it?
Anyhow, I should be back in the office fulltime next week so get that to me asap. I really want the raw, non-imported files.
Best regards,
Jan
Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems -
If it is an AJ-D230H one did exist, but since we discontinued the deck and it card about 6 months ago, it may be doubtful that you will find one. But yes it does work if it is a 230H with the right level of software, in the machine, and firewire card. If you are able to find a card, psot back and we can check your software levels, they may need an upgrade which is not impossible, just necessary.
Best,
Jan
Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems -
Thanks Everyone,
I have to say that I am grateful for a lot of things today, and the one that leads the list today is my husband that calms me down after a yet another challenge in learning how to walk an deal with my life on crutches.
Everyday it does improve. I have heard of the ACL problems back when I was a young upstart ski patroller. and we had a guy that could demo a dislocated knee without realy doing it. It sort of made you nauseous to look.
Thanks for the well wishes. As they say, this too will pass.
Best all,
Jan
Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems -
David Battistella: How do you handle out of town clients who might be getting on an aircraft at the end of a shooting day?
You can set up during the shoot an offloading of the footage on to one or two hard-drives so that when they get back home they merely plug in the hard drive and import the footage.
>How much time do you save against digitizing vs. making backups of the media?
In my limited experience, it this one significant change in the workflow that is noticed first. Because computers work data faster than VTRS can cue up and play back. We had all of the footage copied and duplicated everything before we called it quits the first night. And in reality by the time the shooting team got back to the hotel they had it on the first hard drive. They could have left town right then and there. But we made a back-up and then another backup.
I don’t claim to be in the production business, but more an observer and about once or twice a year I actually end up having to be a producer. Point is that digitizing tapes is the biggest pain, because so much can go wrong, plus there is a whole element in working with P2 that is so endemic to the IT domain it is really hard to describe the differences without having you stand in front of the camera and showing you just how different it is.
>What will you do with your P2 cards when removable media disk based cameras (ieHD XDCAM) become the widespread standard?
That is a pretty big assumption on your part. You are welcome to have that opinion but from here that is not a widely held truth. And if for some reason the P2 card does end up in a back seat to HD Disk, which I don’t believe for a second, I am going to assume that Haakon will continue to make money with his P2 camera.
>P2 can fly if it is rapidly accepted and that has not really happend except for a few “closed shop” news gathering organizations.
You make it sound like just a couple of yokel shops have adopted P2. Cox, Sinclair, Liberty and Media General have been the big time adopters and yes they are pretty happy with the way the system works. And this is just the start of the list.
>It depends who you work with and who your client base is. It’s great for news, but in a single user setup, you might have teh P2 card forever and I think stock would still be cheaper in the long haul.
Actually you should get out your calculator and do the math, because if you compare it to DVCPRO50/DVCPRO HD recording tape costs, you will see that very quickly storage as data is vastly cheaper than storage as tape. So in counter thinking to your position I think that the singular Indy is in a better position financially in a data domain. I mean my 1T Lacie drive was $789, so that equates to $.78 a gigabyte. A 30 minute DVCPRO HD tape will cost $25.66 according to Tape Resources, which nets to $.85 a gig.
>The stock argument only works in places that reuse stock until the have to repurchase (NEWS GATHERING).
Actually this is not true. You should really stop and think more about the whole plan.
> They can’t pop a fresh tape in the camera every day, so P2 make s sense to them. and in the very long run, it does save them but it is a five to ten year investment, bkue chip style plan. Single users do not gain that much.
Most producers do not reuse tape, news guys do. Most producers I know start with fresh tape on every project and they bill the customer. Here, is it is just that you have not thought your own plan all the way through to where are you going to be in 5-6 years. Frankly I think we will all be in tape-less domain. Some of us will have been there for years as we felt that the sooner I faced the decision, the sooner I would make better decisions for the long haul and the money I spend today would be in prep for where I will be 5-6 years from now.
Secondly if working in a tape domain you are required to save everything, in a data domain you are not. And yes people can argue that everything they shoot is valuable but I say that simply is not true. The mistaken shot where the camera was triggered and we watched the crew walk over the parking lot or the talent blew his lines 15 times in a row. I don’t care how you slice it neither grow more valuable, but I might decide to keep the parking lot shot if there was some funny stuff going on, or I could throw it away on P2. My choice.
>It’s on it’s last legs so they pushed it out to their consumer customers to squeeze the last bit of moey out of it. P2 is the new M2 NOT the new Betacam.
And this is the reason I even responded. You baited me in with it. I had a lot of fun selling the MII format, helped a lot of customers make a lot of money with this format. So many people seem to think that MII was some sort of failure, well in comparison to BetaSP, I would say sure that MII did not have the market share, but that does not make it the loser product. It was a great format and a real workhorse. But even more importantly it taught our factory how to listen to the customer. Which is why we did finally win the BetaSP war with DVCPRO25.
Additionally the customers that bought MII found that with each iteration of the machines they were able to get more performance with less money. Unlike the PVW series of BetaSP, which was the same price as the new MII performers, which required the customer to throw away resolution to get lesser cost.
No we don’t expect that P2 is the answer for everyone, we still have a very full array of tape based products that will continue to sell in the market place, yet it is a really cool answer for those that are looking to move away from tape. So what is on its last legs? Nothing that I see in the P2 product line, it has just started. You will start to see stories about how it works in production and how it doesn’t care about the environment.
Because you are not in the news business you may never have seen the stories about Hurricane Emily and her video coverage, which at her worst, was only being covered by P2 cameras. You may not have heard the anecdotal stories from the news fronts but soon you will from the production fronts. This month we will be delivering a much higher quantity to the market over last, thank God, and it will all start to come out exactly what the camera is and what it isn’t.
It is what it is that causes the pause.
Best regards,
Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems -
I am pulling for the motorized scooter/wheelchair like David O’Keley had last year. 😉
Thanks Noah.
Jan
Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems -
[Allen Zagel]
The on-board mic on the VX2000 has never given noticable (to me anyway) camera noise and I do use it mainly for background ambient audio.”
And I feel confident that the DVX100B will offer the same quality if not better response. We had a PD150 included in out tests and the cameras are all virtually the same for on camera mic operation.
Best,
Jan
Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems -
Hi,
If you read the thread carefully you would realize that the noise/humming is the mecahanical noise that is inherent in any camcorder. I and my engineering group personally checked the DVX100B against its predecessors and the competition because of this thread and it is no more significant that any camcorder noise. This is an inexperienced person that wishes to use the on camera microphone as a professional solution. Actually there may be more than one.
The audio quality on the DVX series is unsurpassed in professional applications,that is, using separate microphones and putting them where the sound is begin generated. If you use the on camera mic you will have audio quality similar to any other DV camcorder, and you will have a nice recording of the cameras mechanism(low level) and what ever else is in-between the camera and the incident of sound.
Best,
Jan
Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems -
Hi Scott,
Very weird, as it has worked on every MAC I have tried with that upgrade.
Best,
Jan
Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems -
[scott davis:
Okay, I tried that, but I got an error that said, “Incomplete or Corrupt File” and the P2 lights on the camera were flashing orange. It simply wouldn’t let me import. Trust me, I tried.
However you were not using FCP 5.04, and without that version it would give you that error message. With the proger version it works perfectly just like Barry described.
>I was not in auto-anything. I think auto should not be an option on ANY camera beyond what you’d use at home. Went back in and checked to make sure that SW mode was normal. It was.
It does work exactly like the DVX100 does, and everyone that I have worked with works this way.
Barry:Yes you can. You have to have the switch in TAPE mode, and then go into PC/DUB mode. It’ll let you convert any high-def files straight over to the DV tape, even preserving the slow-motion or fast-motion effects of the variable frame rates, and you can select 2:3 or 2:3:3:2 pulldown if converting 24p footage.
Scott:Switch was in tape mode. I was in the same playback mode as record mode. It didn’t dub over. I used a workaround and did a component dub on DigiBeta. No big deal.
You need to read the second part of Barry’s instruction which was for PC/Dub, which is how you would make it go, but transferring to DigiBeta was probably a better idea as you end up with 4:2:2 and not 4:1:1.
Hope that helps,
Jan
Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems