Rennie Klymyk
Forum Replies Created
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Ditto what Jeremy posted, it’s too early. Producers work in the here and now time frame, if it ain’t broke don’t fix it! Eventually these new formats will be in place and have full support from end to end but anyone using it until then can be prepared to expend a lot of time, money and energy getting going with it.
But FWIW IMHO
[Thomas] “1. What are the likely workflows and digital format (codec) outputs we are going to need to put on the producers drives For FCP? “
You need the proposed “Redcine” or “Phantom” etc. software from the manufacturers. You need to wait for support for jpeg2000 and avc from apple, adobe and other application makers for support from these other cameras also coming out.
[Thomas] “2. Will this require a lot of rendering time and our ownership of a really high end computer with Gflops of drive space??? Can we use a PC to do this. or do we have to have a mac also. Since some of our clientele edit on PC systems (Premiere)”
If you plan to work on 4K – 10K you do. throughput is something like 350mbs for 4K. Lots of storage and multiple fast processors. PC or Mac should do but that depends on the app. itself. Your clients or anyone working in this resolution will need big power. For cameras utilizing jpeg2000 or avc codecs at the HD level it will be more efficeint than present HD formats so current systems will handle it.
[Thomas] “3. About how many minutes per gig, are we going to be able to fit on the portable firewire drive that we send? (so we can see how this compares with sending tape: HD tape @ about $50 per 30min usual 2 hrs per day = $200 as opposed to loaning drives(which cost?) to the producer and paying fedex both ways.)”
The way of the future is internet delivery. We need to lobby our government to provide higher bandwidth at lower user fees like countries like Korea operate. ie: government subsidized 10mbs bandwidth (projected up to 50mbs within a year). Othewise your service bureau or post house will have these capabilities and you pay them to send it electronically instead of physical tape delivery. Failing this technology coming on board in north america, 1000GB HDD’s are comming out soon at a cost of $400.00. These will continue to get much bigger and cheaper in leaps and bounds. Phantom is talking about 512GB solidstate recorders in 1/4 2007!
[Thomas] “4. Can the producer/post house easily make a backup on HD tape of pieces they like but do not want in the show for their library.”
It’s all data but in the case of 4K it’s a lot of data but it can be backed up at lower HD res. Jpeg2000 offers a degree of lossless compression ultimatly as high as 8K but at what level of resolution and compression by the cameras remains to be seen.
[Thomas] “5. Will this be appealing to Producers. why or why not?
Thanks for your help!”A simple way to look at this is as if you will now be shooting with a Pannavision or comparable S35mm film camera without the high cost of buying, processing and digitizing the film. The workflow will be the same as shooting film but after the digitizing is done. This will be gross overkill for many clients needs but will offer a few clients new horizons. With the proposed Redcine SW you will be able to scale output to suit your clients needs.
[Jaws] “We’re gonna need a bigger boat!”
Presently, shooting HD affords us the luxury of RT monitoring on HD monitors alleviating film rushes and providing real world confirmation of lighting ratios, perspective, dof etc. which now can adjusted on set. When’s the last time you used your $1000.00 light meter?(WYSIWYG) What graphics cards do we have to display the 4K output? Perhaps Apple’s rumored 50″LCD powered by a mac pro with 4 graphics cards can do it for say $10-15K but otherwise we will need scalers and other periphials to handle all the data in real time. If you are curently shooting film this still could be cheaper but for those aquiring in HD there will be a considerable cost factor in the 1st years to take full advantage of 4K over HD.
Cameras incorporating intra frame compression like jpeg2000 and avc will give us all the advantages of present HD but at much smaller bandwidths and therefore will be more affordable to work with through the production line. We just have to wait for our apps. to get on board with support.
Steve Jobs made some murmerings at macworld about really big things coming out with the desktops in the following months, perhaps we’ll see quad quads and a quad link card from aja for full support for this new breed of cinema tools. NAB 2007 should be mind boggling.
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The camera shoots mini dv to tape also, it’s just most people buy it for HD but you can even convert from P2 to the dv tape right in the camera. It only records dv25 to tape, all other formats record to P2 or external capture solutions. You can download the manual at panasonic’s web site.
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[cls105] “”Apple Reinvents the Phone With iPhone”
All i can think about is when the iWheel is coming out out :)”
That’s a good one! Although didn’t Bill Gates already re-invent the wheel with those little stand on scooters that were going to change our lives? There were press leaks and murmurrings until they finally unveiled them much to all our disapointment. They could roll but they couldn’t shuffle…
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I’ve done all that as is outlined back in my earlier thread and gotten nowhere from it. My firewire bus is still fried but after installing a $25.00 pci card with 4 firewire ports I haven’t worried about it since. I am going to have to fix it though as my kona2 card won’t work with the pci firewire card. I have to remove it to use the kona. Basically – I plug the dsr-11 into the firewire ports at the front or back of the G5 or on the 23″ LCD monitor and get errors but I plug into the pci card and everything shows up and works like a charm. This has nothing to do with corrupt QT reciepts which I’ve trashed many times to no avail. A few others have encountered this problem too.
For $25.00 it’s worth a try Martin although I regretted not paying a little more for a card that gave me FW800 ports as well. Those are available with 2X-FW400 and 2X-FW800 in one card. -
I had a similar problem on my G5 DP 2GHZ a while back. CharlieX reported an issue with some sony firewire decks where if you plug/unplug the firewire cable in when everything is booted up and running you can blow the firewire bus on the G5. I had to buy a pci firewire card ($25.00) to do anything with firewire again. Here’s the thread. This should be a recall issue, firewire is supposed to be hot swap-plug and play.
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You could also look into renting a player for the festival. Festivals usually get good rental rates locally and can provide advertising in the guides and posters in return. Of coarse if they want to continue submitting it to other festivals they should bite the bullit and get some dubs converted.
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Have you tried importing into Compressor?
This should be the same file format that would be recorded to tape if you had used tape. Were you editing from tape from this camera previously? If so, this would be a good
excuseer.. reason to talk to the daughter again. -
Fortunately it’s only 2 cameras. I don’t know how long the program is and hopefully no one paused or stopped a camera somewhere. One clue you can often find at live events is the flash from a still camera. Scrub through and stop the playhead on one and add a marker then do likewise for the other track but just make sure you have the same flash (in case there are many) For stage events look for changes in lighting like a spot turning on/off or color changes etc. You should be able to get 2 cameras exact. If one was creative and the other a “safe” camera and both have good audio feeds then use the audio from the creative camera with the close ups where you will see lip sync but then if each camera has good audio you should be able to get them exact anyway.
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Stream clip will convert these to many formats and it’s free. Google streamclip. I’m not up with hdv but I would think the .m2t files are similar to .m2v files which are the video portion of an mpeg2 stream without the audio.(before muxing or after demuxing)
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I can’t think of a video camera that does have a
filmccd plane reference mark. At least with interchangable lens cameras you can find it yourself. The only thing is to try to get a schematic of the body and lens and scale a measurement from that. Perhaps Panasonic will help you with this one, they could tell you how many mm in from the front of the body below the lens it is.