Jennifer Isenhart
Forum Replies Created
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Hi Perry,
we have used 3Play Media (https://www.3playmedia.com) to create our caption files. On their site, you upload a low res reference movie and they will either: a) transcribe and create a closed caption file for your movie OR b) you may upload your own transcript and they will do an alignment of your transcript to your movie and create the caption file for you (alignment only is cheaper than transcription and alignment, if you already have a transcript).
We then utilize Telestream Episode to marry together the SCC file with the master ProRes 1920 x 1080 movie file (or whatever master format you utilize). We output a 1920 x 1080 MPEG2 Program Stream compressed movie via Telestream Episode compression software.
PLEASE NOTE: it is critical that the time-code for your SCC file has the same start time as the time code for your 1920 x 1080 movie coming out of your NLE. Otherwise, the captions will not line up.
This method creates a final MPEG 2 Program Stream 1920 x 1080 movie file with 608 captions carried in the video track.
Jennifer Isenhart
Wide Eye Productions -
Jeff, here it is. Right from the Panasonic website. 1280×720 CCDs. That’s crazy. Why wouldn’t they put 1920×1080 chips in that camera?
Does anyone know what the deal is with 1080 23.98p being pulled down over 59.94i? It has P2 cards. Why can’t it record native? Is that a DVCPro HD codec limitation?
SPECIFICATIONS
2/3″ CCD: 1280×720 (1M pixels per CCD)
Recording Formats:
# 720/59.94p, 720/60p
# 720/50P, 29.97pN, 25pN, 24PN, 23.98pN
# 1080/59.94i, 50i, 29.97pN, 25pN,
# 1080/24PN, 23.98pN
Note: In DVCPRO HD 1080 23.98p is pulled down over 59.94i (native recording is not possible)Standard Codecs: AVC-Intra 100, AVC-Intra 50, DVCPRO HD
Jennifer Isenhart
Wide Eye Productions -
Wow. I didn’t know that. Thanks. We’d better look again at that spec sheet.
Jennifer Isenhart
Wide Eye Productions -
Yeah, we have been checking out the 5D MII and also the 7D. If you like that idea, check out what this guy has been doing with a 7D:
It’s pretty amazing. With a $1700 camera body.
But our DP’s don’t see a DSLR Video rig as a primary unit for most reality and documentary work, which is much of what we do, too. That’s why we’re still enticed by the 2700 deal (plus, the trade-in would make good use out of that old Sony 300A we have banging around here).
We’re interested in other opinions on that.
Jennifer Isenhart
Wide Eye Productions -
I’d love a shiny new camera. But curiously, that P2 call hasn’t come yet.
We own a AJHD27f Varicam. It’s a great camera and has certainly proven itself with an excellent ROI in the five years we’ve owned it.
The P2 call hasn’t come yet, but the 1080 call certainly has. We’ve messed around with upconverting our 720 60fps footage to 1080i, which can look decent. But try going 1080p and it’s game over. The image just does not stand up.
For that reason, we are considering the most recent carrot from Panasonic, a $20,000 (with trade in) Varicam 2700 body. With a full size 1920 x 1080 chip set, solid CCDs (instead of judder prone CMOS sensors), and the ability to also acquire off speed 60fps footage at 720 (unlike the 3700)… it seems like a good choice.
We primarily shoot episodic television programming, long form corporate and marketing videos. But we also freelance quite a lot for crew booking agencies and national networks. Maybe we need to hang onto the 27f tape body for a while, too… just in case.
Or maybe we duck for a while and grab an AJA Ki Pro. Anyone tried upconverting 720p to 1080p with a Ki Pro?
Jennifer Isenhart
Wide Eye Productions -
Hi,
we are a small-to-medium sized production company with three Final Cut Studio suites. We have an XServe RAID in place, not as a SAN, but with the lower half connected to one suite, the upper half connected to a second suite via independent Fiber Channel connections. Our third suite is used primarily for ingesting and encoding, so it’s out there on its own with an internal raid array.
All three suites are connected to our network via Gigabit ethernet. We shoot primarily VariCam and HVX200 HD and work a lot on the DVCPro HD codec as well as ProRes.
So– about the Drobo. We are considering purchasing two of the 4 bay devices for archiving and backup of finished productions, stock footage and the like. We currently back up to a small farm of LaCie Firewire drives… as well as to HD tape just for extra backup. But as of late, we’ve had several problems with our LaCie drives failing. This scares the hell out of me. Fortunately, we’re redundant in our redundancy, so we had additional copies of the lost data on another drive. But it becomes a nightmare to manage backups of backups… etc.
So, we’re thinking of migrating all our backup and archival video files to Drobos.
What do ya’ll think of these little devices for such an application? We’d continue to use the XServe RAID for live editing of projects. But I would sleep better at night if our archives were stored on a system with a RAID Level 5 type of protection.
Is a Drobo the best option? Or do you think there are others out there that would be better?
Thanks for any advice you can provide…
Jennifer Isenhart
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I’ll check with her and find out…
Jennifer Isenhart
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It’s a Mac Avid system. She said the audio came through on the clips, but no video…
Jennifer Isenhart