[Rmherd]

[pom_boarder] “I’m still trying to get to the bottom of this and find out whether FCP is butchering my shots or its a playback and display thing.”

ME TOO!

RH

[Rmherd]

Thank you! time*8; is what I was after. Sorry, nothing as clever as a timecode clock, but that’s not a bad idea. I’m just making a spinning background.

Do you know where I can find an expressions dictionary?

RH

[Rmherd]

There’s two ends to this data rate “problem.” The first problem is the actual electronic gadgetry that sample and quantize the data. The panny electronics are always YUV: 74.25MHz : 37.125MHz : 37.125 MHz, (4:2:2). And it is quantized via 8 bit linear DCT. That rate is fixed at 100Mbps. The second problem is recording the data. In 720/24pN and 720/30pN, some fields are flagged and are NEVER recorded–although the first problem remains constant, so, when you bring it into the NLE, the data rate appears slower, but in reality, it just wasn’t recorded, and the color data creating the pictures are very clean.

(The downstream workflow is its own mystery! It’s absolutely crucial you know what your deliverable is going to be: BetaSP, DVD, EDL…so many to choose from.) The panny is very cool and clever but 24pN is not cool or clever for NTSC and SD DVD, in my opinion. I’m in a different position altogether where my material is screened in HD at a very high data rate. On those occasions when I am forced to make a DVD from 24pN, I have to ADD fields via compressor and motion correction because 24pN does not contain the fields necessary for 29.97. And it takes forever to render out.) It’s why I recommend the Canon XL H1–HD SDI outs–for an educational program. Maybe next year, or the year after, the school can get an HDCAM SR deck.

(A note on content: By documentary I was assuming a Ken Burns style, and not a run and gun, news gathering style.)

RH

[Rmherd]

That’s how I measured it also. The electronics in the ag-hvx200 is always 100 mbs because it is 1080i/60 8 bit linear DCT. I also liked the sampling frequency of Y: 74.25 MHz, Pb/Pr: 37.125. The “200” is clever because as it records this signal it flags the appropriate fields and never records them to p2. The data rate therefore in the NLE (I use FCP) appears lower than what the in-camera sampling frequency actually is. You can imagine, then, trying to create an SD DVD from 720/24pN. It’s missing some fields! I looked up the Sony XDcam info, and it has Y: 13.5 MHz; R-Y/B-Y: 6.75 MHz 10 bit (I couldn’t find, but I assume it’s also linear DCT). Red is the ONLY wavelet camera. Sony appears to be using DVCAM, so I guess/hypothesize it’s laying all fields to “tape.”

This month’s American Cinematographer has two great articles on digital workflow, Finchner’s film who shot on the Viper, and the new Red camera. Thomson also makes the Infinity, which ought not be overlooked.

RH

[Rmherd]

It’s both.

https://www.digitalpreservation.gov/formats/fdd/video_fdd.shtml

https://www.digitalpreservation.gov/formats/fdd/fdd000013.shtml

Is there any word, rumors, or gossip about FCP 5.2 … or something, that’ll read mxf?

I guess it doesn’t actually matter, but I’m still wrestling with the firmware update.

RH

[Rmherd]

Do you know why FCP can’t just deal with MXF?

RH

[Rmherd]

p 115 in the manual.

Menu > Other Functions > PC Mode > 1394 Host

RH

[Rmherd]

High Definition is a very broad term, and–I believe–one needs to be careful when sorting through the marketing materials and advertising claims. Because you’ve narrowed down your search, why not rent those cameras and perform an experiment or two? In one weekend, your colleagues and you can test all the various claims from all the various marketing departments (sony, jvc, panasonic, canon, thomson…whomever). This can be done relatively inexpensively.

I shoot the Panasonic AgHVX-200, and I shot three straight hours with two 4 GB cards and one P2 store. The reason I stopped after 3 hours was because the show was over. I mention this because you seemed to think you’d have to halt production.

The reason I opted for the aghvx200 is because it was such a high data rate.

Another option to consider is the Canon HL X1 because of the HD-SDI interface. That’s a lot of data to handle along with the expense of the special equipment (deck, wiring, drives, tapes, capture card).

RH

[Rmherd]

It depends what kind of work flow you use, and what your final output is going to be.

RH

[Rmherd]

You need the “handle zoom.” Page 103. Menu > SW Mode > Handle Zoom > L/M/H

Then you’ll notice a switch on the handle that has three positions. Position “1” will be SLOOOOOOW. This also means you’ll need to use the zoom control on the handle.

RH