Ron Shook
Forum Replies Created
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Gary,
[gary adcock] “Sorry– I will not ever be able to use anything that has iomega media as it’s foundation. I still have nightmares about the now infamous Jaz Drive “clicking” angrily at me in the background, destroying every piece of media I try to get it to read.”
Proprietary scare tactics aren’t becoming. Either REV works or it doesn’t, and I find it incomprehensible that TGV would have this much riding on something that doesn’t work. Every company makes blunders at one time or another and perhaps Iomega has made more than some, but it still follows that you can be as good as your current products, however good they are.
Ron Shook
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Tim,
[Tim Kolb] “[Mike Cohen] “the new feature which bugs me most is the titles being part of the project file – to have to export titles just to use them in another project is ridiculous -”
Yeah…that has been voiced…extensively.”
On the other hand, if the media management were capable of moving bins instead of only the whole project to another project, having the titles as part of the project file is a bit of a plus, isn’t it? Perhaps that’s the road map?
Ron Shook
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Jacob,
[Jacob Rosenberg] “ANother feature that wasn’t mentioned was the new Timecode filter, that finally allows you to add timecode overlays to videos and timelines.”
Very Good! Is it just one field for timeline TC or can you have another field or two selectable from the database, like source TC, clip name, reel #, etc?
Ron Shook
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Jacob,
First, thanks for your taking the time on all these threads.
Secondly, to be upfront about my presuppositions when I ask questions, I’m primarily concerned with two things, are the operations mappable to keystrokes, and how many operations of what type (noodly mouse clicking or keystroke) are necessary to make it happen.
[Jacob Rosenberg] “You can’t capture un-muxed stereo, but you can change the mapping of the audio so that a stereo clips drops into the timeline as two mono clips on top of each other.”
“Two mono clips on top of each other,” is hard for me to conceptualize. What does it take to edit and adjust these on the timeline as discrete mono channels, particularly the one that is on the bottom. (g) My first thought was that it would be much easier to just capture the clips in whatever audio format you needed, but on second thought, I realized that in a few years we probably will do little capturing except for legacy stuff, just ingesting from media for file importing, so it makes sense to make the changes after the ingest or import.
[Jacob Rosenberg] “The new feature is called Source Channel Mappings and it can be assigned a keyboard shortcut to get to the dialog.”
And once you are in the dialog are there keystrokes for determining the choices you make?
Once you make your choice on a master clip, does this follow into any subclips you might make from the master clip?
If the workflow on a particular project calls for scene detection during capturing and you want every clip from a source tape or file to be mono channels on the timeline, is there any way to batch this after capture or import of clips or do you have to change every clip separately?
Sorry for all the questions, but I want to determine how much the audio handling is fixed. Could be anywhere from from 40-90% fixed, depending on the anwers, IMO?
Ron Shook
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Steve,
[Steve Freebairn] “you just set up a raid with disk mirroring in the OS. It is under the administrative tools setting.”
I’m aware of that possibility, but it doesn’t solve the problem which is one drive for the client and one drive for me.
Ron Shook
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John,
[john sharaf] “the future of P2 to me is seriously in doubt because of the new Express slot configurations that are appearing in Apple, Dell and other laptops, which will limit the demand for P2/PCMIA media and therefore the Moore’s Law factor in future deployment of larger and cheaper cards.”
I don’t follow this argument. Whether the slot and buss are Express or PCMCIA, that has no bearing on the chips, which are the overwhelming cost factor in a P2 card. Whether the primary slot changes industry wide or not, the chips are still subject to Moore’s Law, and an even better slot will just serve to drive that law even a bit faster if anything. The slot is almost immaterial, isn’t it?
Ron Shook
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Tony,
Nice, well reasoned post!
This is a rather frightening thread to me. Anything more than about 80% real-time to dump to hard disk, presents insurmountable problems for many types of production. I would dearly like to use the HVX if it proves to perform solidly and I’m commited to my next camcorder being IT enabled, but I’d already determined that for the mostly longer form production that I do, that P2 cards at their current capacity and cost were out of the question, so that leaves me with on-cam hard drives as a recording medium. I can no more hand a client an expensive on-cam hard drive, than I can hand them a stack of P2 cards, so I have to hand them a cheap commodity hard drive and…
[tony salgado] “I personally have adopted a policy when dealing with important media on hard drives to back up multiple times as a precautionary practice to reduce the chance of losing precious data but more importantly a solid relationship with a “trusted client””
Exactly! I also need to have a backup cheap commodity hard drive of my own before I leave the job site as a backup for the client until they can backup the media themselves. That means that for most jobs I need 2 copies on 2 inexpensive hard drives before I leave the site and I need to be able to dump to those two copies in somewhat less than the real time it takes to fill up either P2 cards or on-cam hard disks. I’m starting to think that this HVX puppy is just a little too young to hunt for me yet.
In the hope that we can find a way to make HVX hunt for me, I’d like to mine the collective knowledge base for something someone else mentioned on this thread or another near one. Someone asked if there was a diskcopy utility on the Mac to enable copying identical files to two hard drives simultaneously, i.e., to be able to dump from HVX or HVX media to 2 hard drives concurrently? I’m on PC. I ask the same question of that operating system?
Ron Shook
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mpe,
[mpe] “I surmise it is nothing impressive.”
In terms of pixel count, most likely not. But there are all sorts of trade offs when designing one of these camera, particular when you’re looking at these itty-bitty 1/3″ chips. If you use lower count chips with larger pixels and employ both horizontal and vertical pixel shift to crank the sharpness up a bit, as Jan has indicated, you end up with presumably greater sensitivity and lower noise than the opposite approach. The competitive camcorder with twice the pixel count might suffer more in sensitivity and noise while not achieving much more resolution, if any. If you’re going with a built in lens that has its own limitations, the lower pixel count with its benefits may very well be able to service this inexpensive lens quite adequately. Perhaps Panasonic simply wants you to judge from the picture not the specs, by refusing to divulge them.
Ron Shook
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David,
[David Saraceno] “I am an attorney.
Although I’m not one of those “weeney” ones. I’m an “unweeney” attorney.”
I almost became one and would probably have become a weeny one at that. (g)
Thanks for the giggle!
Ron
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David,
[David Saraceno] “I appreciate these efforts.”
Amen! Not only the efforts, but the up-frontness of them.
Jan is a tremendous resource for both us and her company and Panasonic gains a large measure in my eyes from the fact that her efforts go to some degree unchecked by weeny attorneys. She gives a human face and sensibility to a corporate monolith, doesn’t run off in a huff when she or her company are criticised, and I just wish that there were dozens more like her.
Give that Gal a raise and a plaque.
Ron Shook