Kevin Wild
Forum Replies Created
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Actually, I wanted to mention that I’m actually getting just a blue screen in FCP when selecting AJA 501 29.97. The green stuff is coming out of the HD Link to my monitor. Final Cut is just blue…
KW
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I’ve used it minimally, but no problems yet. I’m mainly using it right now to just play back HDV footage captured with the Canon H1. No x-serve here, though I sure would like one. 🙂 Anyways, no issues with the LHe and a Quad yet. Works perfectingly going out to HDLink to a Dell 2405.
KW
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Graeme, not that companies haven’t done dumber things in the past, but I CAN NOT IMAGINE that Canon made this new format without any plans for deck support. I would hope that there will be a rev’d deck from SONY that supports these modes at NAB this year.
Not sure, but I sure hope something is released soon. The camera is incredible…I feel the same awe at the pictures I’m getting as when I first walked into an edit suite 15 years ago.
Kevin
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The SONY deck will play Canon’s 1080i just fine, which is what MUCH of the work I do will be shot at. So, there are “supporting decks” for this camera. Yes, the 24 and 30F modes are currently not supported, but it won’t be long, so let’s not go overboard on the idea this camera has “limited use in the post world.”
Not sure I agree that the HVX200 offers “more controls.” Have you checked out an H1 yet? You can change just about everything you’d ever want to do…VERY, VERY flexible.
Again, I don’t want to get into which is better. The quality is within a percent or two with a good shooter, in my opinion. If someone wants to go tapeless, get the HVX200. If someone needs tape, go H1.
KW
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I know people always want to talk about what is best. BUT, if you light something nicely and take care with your production, I doubt 95% of viewers could see the difference between these 3 cameras. It’s more about what you’re looking for and what you need. I can’t go into all that, but there are TONS of posts about the differences in workflows and such.
My $.02, after seeing the Z1, is that the Canon’s HDV matches the best with the Panny HVX200 due to some things they did and some great glass. BUT again…this is a percent or two. All are great cameras…don’t get caught up in all these charts and tests people are putting up. They will all do the job at an exceptional level for their price point.
Kevin
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Not sure about that. There was a lot of talk recently on DVI that Discovery HAS approved the Canon XL H1 for broadcast. Having just received one yesterday AND having edited a bunch of Discovery programming…I would bet this is true. The H1’s picture is outstanding.
Kevin
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Okay, my apologies to AJA…the BlackMagic HDLink was the culprit. After a reboot, everything started showing up fine. What’s still strange to me is that the bars from AJA were fine THROUGH the HDLink, but the bars from FCP were bad. Hmmm…it’s working now…that’s all that matters!
KW
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…about to order one this week. My quad G5 is hungry. I’ll let you know…
KW
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I thought the HDLink won’t scale up. Is this true?
Thx.
Kevin
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Actually, I’m getting the LH that does have analog inputs. Does anyone have opinions on which workflow is better quality for converting the HDV to DVCPro HD:
-Going out of the HDV deck via component and into the component inputs on Kona LH
OR
-Using a Convergent Design box that internally converts the HDV stream to Uncompressed, going out SDI into the Kona LH via SDI.
Obviously, the first solution is cheaper, but I don’t yet have an idea on the quality difference between these 2 approaches.
Kevin