Ron Shook
Forum Replies Created
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Jan,
[Jan Crittenden Livingston] “I looked really good.”
Of course you did. So, I assume you were modeling for the camera? (g)
Ron Shook
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Jan,
[Jan Crittenden Livingston] “Point being is that the cards will replace tape and you won’t have to buy acquisition tape ever again. Add to that the cost of you sitting in a chair digitizing the footage. With P2, you sit down, review the footage and make edit decisions.”
All this is assuming that you are shooting for yourself and works fine for broadcast entities and full production/post-production entities of whatever sort, but so much of the production/post-production process in our industry has moved towards different entities being involved at different stages and I just don’t see how the P2 technology fits into this now, or in any foreseeable near term unless you Pana folk have something coming that we don’t know about.
80% of the production work that I do is for outside producers coming in, overseeing the shoot, grabbing the cheap tapes of whatever format and running for the airport or post house or Sattelite uplink, while we are packing up to leave. I can’t give them $2k memory cards or hard drive units, or even $200 memory cards which despite the best of intentions I’ll never get back. I suspect that it’s going to be a very long, long time before memory card technology will allow for that, so we need some quick, easy, transportable, cheap way to get from P2 cards or hard drive recorders to media that’s disposable and overnite shipable. Have you-all got anything like a P2 and/or hard-drive to Optical portable, DC unit in the pipeline that would meet such a need?
Like a lot of folks posting here, I’d very much like to consider this camera over the comparable HDV offerings from others, but without a way to move the files quickly to cheap media of whatever sort, it doesn’t make sense. This is a problem not only for production that demands fast, inexpensive transportability but for longer term archiving as well.
I respectfully part company a bit with DeUdder Ron who contends that this camcorder “… isn’t for everyone.” At this price point it must be designed to be, to suck up market share, promote a better technology, and justify that better technology at higher price points. If part of the workflow makes that technology worthless to too many folks, then the HVX200 isn’t doing its job, no matter how good it is.
I realize as a company rep you can’t divulge proprietary information, but if you-all have something on the drawing boards, for at least previewing at NAB that speaks to the concerns expressed here, a “maybe” and a wink might be in order. (g)
BTW, I have been experiencing your participation on various newsgroups and forums for years and you do your company a great service. I doubt whether a little course language is about to put you off too long from the rough and tumble and enervation of these forums, so please keep comin’ ’round.
Ron Shook
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April,
A couple of addendums to Asex’s great comments:
[Alex Alexzander] “A better choice for printing is a simple Epson R300 printer.”
or the even simpler and equally high quality Epson R200 printer, which can be had for 80 or 90 dollars. I’m not sure, but it’s probably a little slower than the R300 and doesn’t have a card reader.
[Alex Alexzander] “You will need to buy CDs that are silver coated, or DVDs that are white coated for ink jets.”
There are also silver coated DVDs for inkjet printing (make sure it has that qualifier), that make quite elegantly labled DVD’s with just black text and perhaps a colored logo. Much easier on the ink budget for the many projects that don’t demand a full coverage, photographic print job. These look much more elegant than when printed on white coated DVDs. Not all manufacturers made them, but a couple of the better do, and they usually cost the same as white coated.
Ron Shook
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Borjis,
[Borjis] “The pioneer 109/a09 does”
Excellent! Thanks,
Ron Shook
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Ken,
[ken adolph] “Premiere will not do this. Also, there are no plugins that i have found that work easily. Hopefully this will be included in Ver.2 like in FCP”
I don’t know about FCP (still trying to get a handle on that.) But…, the first major problem is how the PPro database handles TC, i.e., if you have a mixture of DF and NDF, it changes the TC of the NDF to DF or vice versa, I think, depending on the the TC of your timelines. This is nuts because it renders all pre-logging for a portion of the tapes on your project inaccurate. There’s a lot to be done in version 2 to justify the Pro in PPro, and we gotta hope it gets done.
Although it is just as broken if not more so in this TC mixing respect as PPro, the playing catch-up Edius allows you to superimpose timeline TC, source clip TC, and a 3rd user defined field from the database (could be reel#, clip name, whatever) on the output, any or all. This is what PPro needs to help editors stay in accurate communication with their clients.
Ron Shook
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Eric,
[Eric Bliss] “Pretty cool, no?”
Very Much So. Thanks loads!
Ron
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Eric,
[Eric Bliss] “Thanks for bringing this to our attention Ron. The fix for it should probably be in place a bit later this afternoon. (As long as I can stay focused on this.)”
I have no doubt as to your focus, only your sanity. (g)
Thanks!
Will the “fix” involve any action on our part, like deleting the old cookie or some such, and if so, how to do it most efficiently?
Ron
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David,
[David Cherniack] “AFA popularity goes you can bet that as a superb codec that’s a cheaper alternative to Axio and a more powerful editing solution than Decklink, they’re going to do very well with PremierePro as their base.”
Irregardless of compress codec quality, the problem with the wholey software solutions to HD editing is that there is no true full rez, full speed output to monitor like there is with hardware accellerated solutions. Perhaps not a problem for you or many others, but definitely something to be considered.
Ron Shook
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David,
[David Cherniack] “Sometimes 🙂 Actually I read that misive and didn’t link it to the problem of dumping large quantities of P2 material on location. Sounds like a good reason to have a PA.”
Nah, hard drives are for location work with this camcorder, hopefully and probably on board hard drives considering the cost of the P2 media for now. The holographic optical could be used this way but it would be slower and bulkier, best left for archiving in the post studio. I don’t know whether it would be feasible to use this technology in a camcorder but the media certainly has a smaller footprint than BlueRay or the like, i.e., it would fit in a palmcorder.
I just can’t believe that there is practically no buzz about this in the industry. Many new products have the “Revolutionary” moniker attached to them, but this is one of the few that deserves it. In one big step it obsoletes all other archival mediums, including Blue Ray, and DLT and other tape mediums of its ilk, and fills in the last remaining hardware hole in a completely IT/tapeless workflow.
Ron Shook
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David,
[David Cherniack] “Well how about a nice cheap firwire or USB DVCProHD tape drive that would have straight copy functions. Plug it into a laptop and copy away – even shooting long form documentary out in the field. Jan?”
Goldangit, don’t you ever read what I write. (David & I are old friends, so don’t anyone think that I’m being overly harsh.) The answer is just a few months away and it’s not just for P2 but for everyone who needs to archive loads of media up to 50 years:
200 GB, 20MBps (the speed of a slow hard drive), WORM technology (Write Once, Read Many) on a cartridge the size of a thick floppy disk that costs $50 (25 cents/GB) initially. I have no idea what the drive itself will cost initially, but depending on how it’s licensed over time, the drive and media costs can only go down, perhaps precipitously. This leaves BlueRay and H-DVD sitting on the starting line as an archival medium (not as a distribution medium.)
Ron Shook