[John Christie]

But my point is that with appropriate hardware, machine control and ingest from tape has been there since version 1.2. Those who needed the extra hardware could buy it knowing it would work with FCP.

As Drew pointed out, FCP is just software, it’s always required hardware to work the way you want it to.

Cheers

John

[John Christie]

You could always use a $49 USB to RS422 adapter in FCP 1 to FCP 7. We used to use these back in the day when we would log beta tapes.

So to say it’s a “missing feature that was never included” is wrong. This has always required some hardware help as computers don’t have 422 ports built in.

Cheers

John

[John Christie]

There are Thunderbolt to fibre channel adapters available now. That’s the last roadblock removed for us to consider using iMacs for some of our edit suites in a SAN environment. We’ll keep MacPros in the online suites for doing the heavy lifting, but iMacs for editorial could be perfect.

Now we need to see more Thunderbolt add-ons. (We prefer to call it T-bolt, who’s got all that extra time to say thunderbolt?)

Cheers

John

[John Christie]

I get the same problem if both my input and output are set to my FCP card (Kona) at the same time. Disconnect whichever one you don”t need and try again

[John Christie]

Hi William

I just checked and DVCpro HD is 960 X 720 and Pro-res is 1280 X 720. You’ll want to make sure everything scales correctly when changing codecs.

Try and send a short test to the facility who are doing the output. 5 seconds would be enough for them to confirm all the settings for you.

Cheers

John C

[John Christie]

We work this way all the time. The Kona card will upres and add the correct pulldown. If you have a lot of graphics in your show, you might want to consider re-rendering your timeline as pro-res. DVCpro HD is a nice codec, but nowhere near as nice as pro-res. Create a duplicate of your sequence and then change the compressor to pro-res in the sequence settings.

Cheers

John Christie

[John Christie]

I have an HMC40 and an HMC150, both are great cameras.

As a replacement for a DVX 100, I’d consider the HMC150 first. The size and form factor is closer the DVX100. If “client appeal” is important, the 150 is larger and appears more “pro”.

The screen and viewfinder on the HMC40 are smaller than the HMC150. I’m not crazy about the touchscreen functions on the 40, the screen get’s all greasy with fingerprints.

The 40 also shoots 10 MB stills of reasonable quality as well as timelapse capabilities, the 150 doesn’t

You need to spend extra on the 40 if you want XLR audio, it’s built in to the 150.

I don’t shoot a lot of low light footage, but I’ve heard that the 40 is worse than the 150 in low light (smaller imaging chips)

That said, there’s a hefty price difference between the two cameras. Neither camera will disappoint you.

Here’s a link to some of my videos shot on the 150, haven’t used the 40 in any production work yet.

https://www.vimeo.com/15263925

Cheers

John Christie

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[John Christie]

I’ll second Rafael’s suggestion.

I had a request from a broadcaster for a few shots to cut into some promo material ASAP. As a test, I transcoded some HD ProRes footage to h.264 (using the default h.264 setting in compressor) and then back to ProRes. Apart from a small gamma shift, you had to look very hard to see any artifacts int eh second generation ProRes file. The broadcaster on the other side of the country was happy to get h.264 files that day rather than waiting for Fedex.

Cheers

John C

[John Christie]

I would add that if you have the Zoom recorder, have it record the room sound on just using it’s internal mic. Position it right in front of the Sound board as that’s usually the suite spot for audio.

Handy to get applause and a bit of reverb/room tone you can mix in later to the board feed.

Cheers

John C

[John Christie]

I think the brits have it easy with cameras that switch from 50 to 25. I have a Panasonic HMC150 that shoots 24 30 or 60. In the UK that same camera (HMC151) can shoot 25 or 50. 50P doesn’t give you quite as much slomo, but in this instance, it’s more versatile. I’d love to have 48P as an option on my camera for exactly that reason.

Cheers

John