Misha Aranyshev
Forum Replies Created
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SPB2 is the protocol FireWire storage device talks. AVC is the protocol FireWire cameras, decks and converters talk. So it is possible to download footage from inserted P2 to a computer via FW and it is possible to transfer footage from tape to a computer via FW. The big question is whether AVC support DVCPRO50 and HD or not to allow E-E recording in this format. Since there are DVCPRO50 and DVCPRO-HD decks with FW it is highly likely.
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Viewing Feet and Frames Counters in Final Cut Pro
Final Cut Pro supports feet + frame units in the Timeline ruler and timecode fields throughout the application. Choose from three feet + frame counter options: 35mm 4 perf, 35mm 3 perf, and 16mm (40 perf).
Mackie Control Protocol support is close second
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I can easily tell the difference between DigiBeta and 50 mbit/sec IMX after four seasons of reality TV show that uses both. Thousands of hours of footage. There is a lot of DigiBeta codec bashing these days but in SD nothing comes close. Even Sony themselves realized that and introduces progressive DigiBeta camcorder this NAB. About 5 years late I’m afraid.
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If you search this board I believe there were several requests like yours. I asked for this once.
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Did I heard it right there is also 10-bit log RGB codec in this release? Can I use Gamma control to map 10-bit log RGB to linear for viewing on a video monitor?
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There will be two versions – 24/30/60 and 25/50. This is probably because it is easier to get 25 frames from 50 Hz CCD than from 60Hz CCD. We get it later, pay more and it comes with less features. Some things never change.
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The good news is Panasonic won’t object other manufacturers making P2 cards and Panasonic won’t object others trying to hang some clever contraption off P2 slot. CardBus is PCI, right? Sounds interesting.
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[Luis Caffesse] “But I expect that the P2 workflow will be less expensive than shooting 16mm rolls. “
I brought up 16 mm because I feel when shooting P2 costs less than shooting 16 mm very important psychological barrier will be broken.
[Luis Caffesse] “And, while every roll of 16mm will add additional costs, the cost of shooting on a P2 card becomes less and less the more you shoot. Yes, it’s an initial investment for both the cards, and whatever media you are backing them up to. But after that, there are no more costs.”
Recycling P2 cards is a hot topic on many boards. The only part not covered extensively is how the client gonna feel about it. This could be non-issue or it could be a big deal for our clients. We can’t predict that at the moment and this is not going to be completely rational – FUD, gossip, hearsay will be factors too. So lets get mentally prepared for the worst case scenario.
[Luis Caffesse] “So are you talking about finishing on film?
I was under the assumption we were talking about finishing on a video format. If so, you would eventually have to make a decent transfer of the film. That was why I mentioned the cost of a supervised transfer. “It is going to be selected takes, not all the footage and again you are paying for colorist’s time not machine time. Tape to tape or smoke*/inferno session isn’t much cheaper than that.
[Luis Caffesse] “Most jobs I do I spend a minimum of one full day logging and capturing.
And that’s on short runtime pieces. On some projects, I’ve spent as much as 1-2 weeks logging and capturing. I can only imagine how happy my clients would be not to have to pay for my time to do that (not that I’d be that happy about losing the income, but I do hate having to log and capture).”Don’t worry. The whole job will take roughly the same amount of time. An editor has to be familiar with the material to work fast.
I like P2. I want it to take off fast. I feel for it to take off it doesn’t have to come down to tape price level. 16 mm price level would be enough. P2 is not there right now.
Also, are we going to see P2 Varicam at IBC? I’m seriously considering getting one.
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Of course it was very rough estimate and there are many factors that affects the actual cost per roll. Still it doesn’t take an hour to transfer one roll. Several rolls of film will fit on a $100 HDCAM tape. For dailies one-light will do fine. Supervised transfer is expensive because grading is involved – I pay the guy not the machine. I still have to pay for grading at some point no matter what is the acquisition format. If you double my figure I’m sure you won’t have to shop around for a good deal.
The cost of deck is totally irrelevant. If you offer editing as a service you need some sort of deck to lay down the master. If you are a client I don’t think any facility would give you an additional discount because you brought P2 not tapes. You already cut a lot of hours of digitizing so don’t expect more favors.
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Sure.
Still I’m with Michael Pappas on this issue. 5-10 min recording time between “reloading” isn’t a big problem for me but I’m not buying any “paradigm shift” stuff here. A roll of 16 mm with processing and transfer to tape is how much? $400? If P2 beats this price real soon I’d say “Good job, Panasonic”