Matthew Sonnenfeld
Forum Replies Created
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I don’t have an AF100 myself but I was always a fan of P2CMS for my HPX170. Have you tried Panasonic’s own AVCCAM Viewer?
https://eww.pass.panasonic.co.jp/pro-av/support/content/download/EN/avcview.html
Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary -
The most important thing to realize with RED footage is that REDCODE RAW is not uncompressed RAW. Typically, REDCODE RAW is recorded anywhere between a 6:1 to an 18:1 lossy compression ratio. CinemaDNG on the other hand, is a full 1:1 uncompressed RAW recording. In this way, the files out of the BMCC are significantly larger than the files out of the RED. RED themselves say that their files are “visually lossless” but make no mistake that REDCODE RAW is a lossy compression.
In reality, REDCODE is a wavelet codec very much like CineForm. Both are derivatives of the JPEG2000 codec. Wavelet compression is extremely efficient and retains excellent quality with different, and less noticeable, compression artifacts than the standard blocky compression artifacts seen in most codecs. It is the efficiency of the compression that accounts for the smooth workflows that you are referring to. You see this in both REDCODE and CineForm. CinemaDNG by contrast, simply has no compression to streamline efficiency.
It is also worth noting that REDCODE is not the easiest thing to handle. It is typically not just turning the playback resolution down. In order to really get strong performance you do need a RED Rocket card.
That was a lot of technical information but I hope that explains things in a bit more clarity.
Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary -
[Peter J. DeCrescenzo] “Although myself and others who were encouraged by BMD to pre-order starting in April”
Also wanted to add that BMD did not encourage anyone to pre-order. The retailers themselves took pre-orders and encouraged them. With very few exceptions, all of those pre-orders were free, and without exception, BMD was not involved in any of them. If their mistake was saying that they were trying to ship in July, then that was their mistake, but if this is a case of the best laid schemes of mice and men going awry, then just let them hammer it out and get it shipped. I don’t think anyone is losing work over not having a BMCC, but many are losing patience.
Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary -
I am one of those April pre-orders. I ordered mine through B&H on April 29th. While yes, I am eagerly awaiting and hoping for my camera to be shipped, I honestly am more happy to know that BMD’s quality controls are good enough to catch the problem. The fact is that I would rather have a shipping delay, or four, than a single product recall.
Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary -
Unfortunately the workflow that you’re looking for is extremely inefficient. So much so that Adobe flat out no longer supports it. The problem is that Premiere simply can’t handle th CinemaDNG files in real time, or really anything close to it. After Effects can accept them but again, you will not have real time performance. Adobe’s logic for this is that Premiere editors are used to real time editing so they do not support CinemaDNG native because the editing experience is too poor. Conversely, AE artists are used to not working in real time so it is less of a mental burden in After Effects.
Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary -
Glad to help! Hope it goes well!
Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary -
I don’t think that you should need a plugin. You should be able to use a garbage matte and just feather the edges within Premiere’s effects controls. Then just place that all over a white background.
Chances are though that a flat white may be a little too bright. Play around with varying levels of grey and/or cream so that you can best match your existing white backdrop.
Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary -
Great find here Peter. I think that this is the openness that so many people have been calling for.
Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary -
Have you considered a HyperDeck shuttle and recording in ProRes? Too far out of budget for that? If that’s something reachable that will give you near the best quality you can get from the AF100 and it will be edit friendly in every NLE.
Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary -
As Shane said, 720p 24pN. This will also double your recording time on your P2 cards.
On top of that though, make sure you are set to FILM CAM and don’t think shutter speed, think shutter angle. You want a 180 degree shutter basically at all times. Then if you must deal with shutter speeds, you want 1/48. If you are used to shooting on a DSLR, you would typically use 1/50 because that is closest to 1/48 for 24p.
Also, shooting in Cinelike D will give you the widest dynamic range with the flattest image.
And then yes, LIGHTING!
Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary