Peter Corbett
Forum Replies Created
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My experience producing a drama with XDCAM HD showed me that not unlike HDV, on static images the quality is quite excellent, but as soon as software slomo, filters and grading is applied in post the whole stack of cards start to come down. The much-touted overcranked slo-mo also looked soft and smeary compared with Varicam sourced slomos.
Long-GOP maybe works for shooting but as soon as you start posting, it just doesn’t do it for me. I notice that Sony really plugs what shooters say about XDCAM HD, but where are the testimonials from the editors and compositors.
It’s my whole discomfort with Sony’s long-GOP approach to 24P/25P Progressive. How can they say it’s “true progressive” if each frame is made up of 15 sub-frames?
Peter Corbett
Powerhouse Productions
Australia
http://www.php.com.au -
I’ve been hovering on the edge of going to FCP from Premiere Pro for some time. I just bought a cheapo $450 upgrade for Final Cut Studio under the upgrade deal Apple was offering.
The main two reasons for changing would be access to other FCP facilities and editors, plus widespread codec support. Premiere’s support for P2, XDCAM and the like is woeful.
But….seeing the things on the list that Apple users want, I already have them and would be loathe to lose them. To pinch a few from the list that PPro already has…
1. Mixed codecs/resolutions in the same timeline
2. Saved project includes setup
3. Subframe audio editing
4. Direct import of image sequences (with direct update within Photoshop)
5. Individual track height
6. Ability to color video and audio tracks on the timeline
7. A decent titling programOn the other hand, much of what FCP users are asking for, I don’t have on Premiere also.
Background rendering while editing
Color-correction curves (except in plugins – not sure in PPro)
Used clip indicator in bins
Create new media with speed changes
Clips with filters have some type of indication on the timeline
Easy way to delete unused rendered media
Turn video tracks off and on without losing renders
Media consolidationThere’s more but it’s too exhausting. It would seem that no platform is perfect, but I don’t the list of wanted features is unattainable for either Apple or Adobe to achieve in their next product releases.
Peter
Peter Corbett
Powerhouse Productions
Australia
http://www.php.com.au -
Trust me. In 10-bit 100mbs, the quality is mind-blowing. Also look for Grass Valley’s Infinity with 100mbs JPEG2000 intra-frame compression. I have real doubts about the longevity of Sony’s HDV/XDCAM HD long-GOP methodology.
Peter
Peter Corbett
Powerhouse Productions
Australia
http://www.php.com.au -
Panasonic’s AVC-Intra is intra-frame H.264 compression so there is no long-GOP and is also recordable to 10-bit in the camera. At 50mbs you get DVCPROHD qaulity at half the data space of DVCPROHD. Based upon our tests with 100mbit H.264, compression artifacts are virtually non-existant. Sure H.264 at 2mbs or 5mbs is “highly compressed” but 100mbs is not highly compressed. The opposite in fact.
Peter
Peter Corbett
Powerhouse Productions
Australia
http://www.php.com.au -
It’s not heavy compression. It will be 100mbs on the HPX2100 and will look fantastic up against DVCPROHD.
Peter Corbett
Powerhouse Productions
Australia
http://www.php.com.au -
The 2100 definitely. It has the one megapixel 3-CCD versus 600K for the 500, plus I’m not sure about cinegamma and other stuff that it may have. It will be a better camera, but how much better to the viewer sitting back in a chair watching compressed off-air HD or a DVD, remains to be seen.
Peter Corbett
Powerhouse Productions
Australia
http://www.php.com.au -
I was told the HVX500 would be shipping in July here in Asutralia. Keep it mind it’s trying to do 1080i and 720P with 600K chips. There is definitely no tape transport.
Peter
Peter Corbett
Powerhouse Productions
Australia
http://www.php.com.au -
Bob, the build quality was excellent as you would expect from Panasonic broadcast cameras. It’s hard to tell about PQ at a trade show, but I assume it’s a least equivalent to the HVX900.
The HPX500 is due in July and features four P2 slots instead of five, slightly less robust body, 600K CCD’s (but will do HD in a way) no H.264 option, but does do variable frame rate, unlike the 2100. It’s under US$20K.
Peter
Peter Corbett
Powerhouse Productions
Australia
http://www.php.com.au -
Not sure if it the same chip as the HVX900. It’s a 1-mill CCD-size for the 2100. It looks like a SPX900 except they have moved the transport controls to the upper left side. There will not be a firmware/board upgrade to H264 for the HVX200 as far as I know. Even the new HVX500 will not have H.264.
Peter
Peter Corbett
Powerhouse Productions
Australia
http://www.php.com.au -
I have the same problem with a HD Extreme. I select 5.1 capture, but only get a stereo capture. And yes I have four discrete audio channles coming in off DVCPRO50 SDI.
Peter Corbett
Powerhouse Productions
Australia
http://www.php.com.au