Nate Weaver
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I have had a 20″ JVC HD CRT for about a year now for my edit rig (via component), and just bought a Pana BT-LH1700 as a field monitor for my XDCAM.
I put the Pana on top of the JVC and fed them both he same signal, and was shocked how identical the Pana was to the CRT. I’d even worked with the Pana before (but was never super impressed). As it turns out it was vastly more accurate than I ever knew. Interestingly enough as well, the Pana is showing slightly more resolution, even though it’s not full 1080p pixel res.
So after this eye opener, I’d say get one of the Panasonics. If you can afford a Sony BVM HD CRT that’s one thing, but my budget HD CRT drifts, and it’s days are numbered anyway.
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I find that people looking to see if there’s strobing in 24p usually find it.
I also find that if I look for it myself in film originated material, I find it.
24p video suffers from the fact that there’s people who will go looking for the fault…not realizing that if they don’t go looking for it, they won’t find it.
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[Paul Thurston] “I’m sure somebody will try to use the camera head as an EFP/ENG shoulder mount camera (sending the images via a cable back to the SRW1 recorder, which an assistant will probably carry) but, a shoulder mount for the camera head was not considered as part of the design.
It’s designed for productions and DPs who would otherwise want an F900, but it’s a step up and addresses a lot of the issues film DPs have with the traditional ENG-style video camera body. It will be used handheld quite a bit, but in short bursts for film-style shooting…not all day long shoulder work, which I’ll assume is what you meant.
The shoulder pad issue I’m sure will be handled in much the same manner as every other film camera on earth…a pad that slides onto the baseplate mech, or if it wasn’t ordered from the rental house, a folded towel on the shoulder!
This camera is VERY similar in physical design to the Panavision Genesis, except with 2/3″ chips. Keep in mind the Genesis’s manufacturing is handled by Sony.
[Paul Thurston] The F23 setup was designed to be a 4:4:4 design (only up to 30p) but I guess some folks will use the 4:2:2 setup as it allows you to record up to 60p.”
The Genesis has the same choices. Not to over generalize, but the people shooting for SD/HD broadcast seem to go with single link mode, the people working for film out choose dual-link 4:4:4 mode.
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Mason, two things:
Since FCP can work with the native codec off the tape, you’re better off digitizing via firewire. There is an “Easy Setup” for 720p24 DVCPRO HD in Final Cut, that’s the one you want. It’s designed to bring in the native data via firewire and drop the redundant frames, making things as easy as and as high quality as humanly possible. HD-SDI in this case is not higher quality, nor is it easier on the hardware.
Second, shooting with a 225 degree shutter makes moving objects LESS crisp, as there is more motion blur. Try 180 and see if it’s not to your liking. Some thing like 135 would have been the direction you would have wanted to go to.
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I’ve finished one project cutting native XDCAM HD in FCP. Works great.
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I’ve never had to conform laying off to HDCAM or Dbeta. If the timeline is rendered or full preview, it can be done without waiting.
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On paper XDCAM is underwhelming. In practice, with the right NLE, it’s terrific. 35mbit mode is visually cleaner than 25mbit mode.
Heaving a cleaner camera head feeding the codec helps too.
I’ve worked with quite a bit of native DVCPRO HD/Varicam footage in FCP, and have native XDCAM HD material from my F350 as well. I’d never have a problem reaching for the XDCAM over the Varicam, any day. It’s not like DVCPRO HD at 24fps/40mbits is all that high of a standard to surpass.
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The question is, what tape format you laying off to?
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The “conform” process has to happen if you’re writing an MPEG stream back to an MPEG device. That’s HDV tape or XDCAM disc.
If you need to layoff to HDCAM, Digibeta, BetaSP, etc, then all you do is “Edit To Tape”. That’s just a render, then.
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As long as the machine has the newest Apple HDV codecs, you can import the clips using the transfer software and bring straight into AE.