[Matt Burrows]

This is all really helpful information but there’s still one thing I don’t understand that doesn’t seem to be covered in this thread- If you’re working in an HD timeline and down-converting to SD what about the difference in field order??

If HD is upper first and SD is lower first, at what point in the workflow is the conversion to lower fields first supposed to happen?

I tried the methods discussed in this thread and the quality difference is stunning but in my case I’m still seeing what appears to be a field dominance mismatch in my conversion to SD. If I can get this part straight, my problems will be solved.

[Matt Burrows]

This is all really helpful information but there’s still one thing I don’t understand that doesn’t seem to be covered in this thread- If you’re working in an HD timeline and down-converting to SD what about the difference in field order??

If HD is upper first and SD is lower first, at what point in the workflow is the conversion to lower fields first supposed to happen?

I tried the methods discussed in this thread and the quality difference is stunning but in my case I’m still seeing what appears to be a field dominance mismatch in my conversion to SD. If I can get this part straight, my problems will be solved.

The only woman I’m pimping is sweet lady propane! And I’m tricking her out all over this town.

[Matt Burrows]

OKay. The macbook was recognizing the camera all along. What I discovered was this…

The particular website I need to stream an HD signal to requires the use of Adobe Live Flash Encoder using a frame size of 640 x 480. That confuses me right out of the gate. How do you stream an HD signal at 640 x 480??? Could it be that the website is confusing HD with HQ? Or could it be that I’m confusing screen dimensions with number of pixels? Is there a difference? I know just enough about this stuff to screw everything up.

So again, how do you stream an HD signal at 640 x 480? I just don’t get it.

The only woman I’m pimping is sweet lady propane! And I’m tricking her out all over this town.

[Matt Burrows]

Hi There,

We’re close to 4 years since the last post in this thread. Anyone know if Apple has released a DVCPRO50 codec for Windows yet? I’ve always wondered why I have no DVCPRO 50 option in the QT DV Output module in AE 7. That’s right, I’m still using AE 7. Laugh at me now or patronize my with your pity. 🙂 If I only had the money to upgrade I would. Now I’m bummed.

The only woman I’m pimping is sweet lady propane! And I’m tricking her out all over this town.

[Matt Burrows]

Thanks Mike. Big Help!

The only woman I’m pimping is sweet lady propane! And I’m tricking her out all over this town.

[Matt Burrows]

Ahhhhh. Actually I didn’t know that most HD was an upper field first format. I’ve been setting the clips to lower field first just like I’ve been doing for years with my SD footage. I bet that’s why I’m seeing little field lines in clips with movement. THANKS!

The only woman I’m pimping is sweet lady propane! And I’m tricking her out all over this town.

[Matt Burrows]

Thanks David! I’ll keep all that in mind. Glad to see I’m not the only person who’s copy of AE doesn’t interpret Ref files correctly.

The only woman I’m pimping is sweet lady propane! And I’m tricking her out all over this town.

[Matt Burrows]

Multiple drives at the same time? I’m sold! That’ll save me a lot of time backing up data. As it stands now I have to:

1) pull the contents folder and last clip file over to the drive I’m going to import from

2) copy those same files over to another drive so that I have a redundant backup for safety.

It may take just as long for the transfer but it sounds like I wouldn’t have to wait around waiting for step 1 to complete.

Thank you sir! Your info has been a big help! Hope I can repay the favor one day. Or, at least pay it forward.

Matt

[Matt Burrows]

Hey John,

Thanks very much for the quick response! I’ll give those links a try. However, before I go to that trouble… I’m already very familiar with the process you described. We do it on a regular basis on both FCP systems and Avid Media Composers. Soooo, I’m guessing that what your saying is that the Panasonic P2 CMS may not really be necessary for someone who is having no trouble importing P2 footage into there NLEs without it. Is that the case? Are there any advantages or features specific to the P2 Content Management Software? I wouldn’t know because Panasonic’s documentation; both the product description and the help files STIIIIINK! I just stumbled across it while exploring their P2 downloads page and it looked interesting.

Thanks again for you help!

Sincerely,
Matt Burrows

[Matt Burrows]

Hey Scott,

Thanks so much for the reply. I actually figured that out about an hour ago. It was a relief to know that at the very least I can still use the interviews… I could never ask these people to re-shoot. They’re in their 90s and didn’t want to go on cam anyway.

The big issue however is this: Does Avid not combine spanned clips from the FS-100? I’m calling them spanned clips but maybe it’s not actually the same as a spanned clip from 2 P2 cards. Maybe multiple clips from the same shot aren’t considered spanned clips… I did notice that the last clip file only had one entry logged.

Thanks again!