[Rmherd]

Also blue is the shortest wave length, yet the word “compression” is still vexing.

RH

[Rmherd]

To answer your question bluntly: Not without a pulldown to 720p60, which is acheived in camera. I don’t believe it would be as sweet as the in camera effect, but I haven’t actually given it a try, I will later on, though. Pansonic did a really good job of mimicing the mechanics of film style acquisition.

Regarding formats, I find the following link to be invaluable: https://www.digitalpreservation.gov/formats/fdd/browse_list.shtml
P2 is MXF. The techie info is in there. DPX_2 is a more desirable format. Uprezzing from MXF (QT actually when you’re in FCP) to DPX_2 is very expensive. So if you plan a filmout/cinema release, it is advantageous to capture with a different camera, like a Dalsa, Viper, Varicam etc. Those details are covered extensively in the American Cinematographer.

RH

[Rmherd]

You can adjust frame rate and shutter angle, independently. Yep, it is glass smooth. I shot some cool pictures of the ocean (60fps*45degrees) and as the waves were breaking you can see each individual drop–like the dust in the famous Saving Private Ryan opening sequence.

I’m curious (a) what will you deliver to the editor; and (b) what will the editor deliver?

RH

[Rmherd]

Thanks for asking your pal those details. That’s why the COW rules. I’ll be gone for several days since it’s New Years, but I hope to read-back on Tuesday. My wife is tapping her foot–ready to go out.

There’s no quick reply to your last paragraph. Regarding the workflow, certainly you need the deliverable rendered out of AE, and then cut into an NLE for layback and audio mastering. If not, I’m curious how you tape-out of AE. Therefore, let me try to approximate your workflow with a little more precision.

1. Image capture on AG HVX200 in DVCPROHD 1080i (4:2:2 YCrCb)
2. Ingest footage into FCP (4:2:2 RGB). Edit. Picture lock.
3. Uprez in Compressor? to Uncompressed HD 4:4:4 RGB
4. Import from (3) into AE for compositing. Render out to Uncompressed HD 4:4:4
5. Import (4) into NLE for audio layback to HDCAM (3:1:1 YCrCb) or D5.

Hopefully this is a close approximation, but please provide further details. For instance, are you sticking with QuickTime the whole way through?

RH

[Rmherd]

Look into a Da Vinci 2K and or a digital intermediate. Your producer may not want to pay for the extra post costs, but it’s well worth it; plus, with finished file, you’ll be ready for a film out.

RH

[Rmherd]

What did they show you? A black and white image? A histogram? A waveform? RGB parade? Vectorscope? And what did they compare that to?

I’m also curious if they kept the codec native to DVCPROHD or if they changed to animation codec–a bad idea–to match their files. Another problem is it doesn’t actually matter what the motion graphics guys think since the final output should be conformed in a DI suite (the best case scenario) or at least with plugins like 3 Way Color Corrector in FCP.

Another serious dilemma is color temperature. There’s very little blue in studio lighting, but there’s lots of blue in sunlight. This can get really tricky when shooting special effects.

RH

[Rmherd]

how are you measuring what is “the most compressed”? That doesn’t make sense, but I admit to not knowing it all. Moreover, you can manipulate every single variable in the extensive menus.

RH