Matthew Romanis
Forum Replies Created
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The thing to bear in mind here is that cables such as these only display the computer display, either a copy of what is on the laptop screen (icons, dock, finder bar and all), or as a second display monitor.
If you set it up in dual screen mode, as opposed to copy mode, then set the FCP Video playback (in the “View” pull down menu) to “Digital cinema desktop preview”, you should be able to achieve what you want. Make sure your audio follows the same path too. -
Check that your field dominance is set to none on both the file in the browser and the time line you are using. If set to “not set” on either it will default to the standard for your input settings. You should be able to control/right click on the item in the field dominance column in the browser to change these settings.
Matthew. -
Hi Tom,
For your deliverables remember that there are not many HD standards converters around in PAL countries, much easier and less problematic to offer NTSC SD to news stations. The slow down referred to I think is when NTSC footage is just dropped into an FCP Pro Res 422 project and allowed to render out. The Natress Standards converter plug in for FCP provides good results, though it is not considered by many to be “Broadcast” quality. -
Hi Tom,
In most PAL regions footage for on air is shot 16×9 with 14×9 framing (hybrid shoot to protect), in some countries 16×9 with 4×3 framing shoot to protect.
A standard definition PAL frame is CCIR 601 720 x 576 (anamorphic for 16×9) or 1024 x 576 for fixed ratio file use.
60i will be easier to convert from if going through a linear standards converter, if keeping in software solutions then either. Progressive capture is rarely used for news purposes, so if that is a consideration then shoot interlace.
Matthew. -
Last time I looked at Cokin they were made from polycarbonate and not considered good quality for SD let alone HD. Has that changed, are they better quality now?
I have always liked Schneider (B+W) glass, and pretty much buy them as default now, except for exotic colours, Tiffen still has the lead there. -
I found an anomaly when using the 25pSDI down converter built into the 1200 and 1400 decks. Regardless of the frame rate the camera was set to, every piece of footage was displayed at 25fps 720 x 576 standard definition. However, no matter what I tried in any of the HD settings, the decks would not do the same thing.
Is your job a full HD project? If not, you could try the down converted SD option.
I helped client out once who had a similar issue, not understanding Varicam he shot everything at 60fps reasoning he could get 25fps out of it and 60fps for slow motion at the same time. He started blaming the camera rather than his lack of understanding when it was explained to him that it would not work that way. I suggested a HD standards converter where we set the incoming signal to 60i, used the reference form the deck to maintain a 60p reference source and not let the converter use it’s default 59.94 setting, then set the output to 25fps. It was a bit hit and miss but he got most of the footage this way. We also played around with retiming through FCP but the results were disappointing. -
AVCHD is a codec standard, where as P2 is data medium.
You would have to compare AVCHD to HD100, AVC-Intra 50, or AVC-Intra 100, in which case it’s a no brainer, in it’s current state AVCHD looses out. -
I don’t know how the device reader in the camera will treat them, but at a guess you would need to use SDHC cards rather than standard SD cards to achieve the best write speeds. The new SDHC cards have a claimed write speed of 20MB/s although they are only officially rated at a class 4 speed (sustained 4MB/s).
DV 25 and DV 50 might be OK, don’t know about sustaining HD 100 though. Maths is one thing, actuality is another. -
Marketing over product facts.
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Hi Steve,
In all the testing I have done with the 2700, never once was it capable of recording at 60 frames for PAL 25fps playback. In any of he 50hz modes it maxed out at 50fps capture, making it no better for creative slow motion than a 202, 502, or 2100.
I think we should not confuse a “World” camera like the original Varicam is with the new 2700. Our 3000 is a true world camera in that it is as fully functional in 50hz mode as it is in 59.94hz mode. The 2700 is not as empowered in PAL mode as it is in NTSC mode.
Panasonic has not replaced the original Varicam with the 2700, it has created a different system with less front end functions in PAL. The main advantage of this camera is the P2 functionality, but it is certainly no replacement in creativity.
I’ll stick with our older Varicam (and our 3000) and wait until either Panasonic or someone else offers a true replacement.