[Shane Dillon]

Hi,

I found more information. This codec only works with Mac’s, it does not work with PC’s at all. Hense it comes with FCP.

So if you have a project that you intend to move to another system/platform using a Quicktime Movie, do not use the DVC Pro HD 720P codec unless the system is a Mac. The only way to get the file to work in a PC is to first open it in a Mac and then transcode it to a different codec (None).

Hope this info helps,

Shane

[Shane Dillon]

Thanks Shane,

I’ll check out both of those applications. Are you familiar with either of them? If so do you have any tips when using them?

Thanks again,

Shane

[Shane Dillon]

Thanks for all the quick replies. I will post what I find out from my contact on the BBC series.

[Shane Dillon]

Thanks for all the info!

Sounds that FCP is the only way to go for offline. But what about getting it to an online system with more/better tools? Is it best to output a file (like a quicktime) or playout the whole timeline to D5, use that as the source, and a cut list edl to provide edit marks for color grading?

[Shane Dillon]

So let me get this straight, you are saying always work in full HD, even for longform? and that it is only 20% bigger than DV25?

I know the format is heavily compressed, but can’t see how it is only 20% more. I know one uncompressed frame of 1280×720 should be around 2.7MB, so not only do you start to eat up storage quickly with alot of footage, the system can’t be as responsive.

I am not saying you are wrong, I just wanted to clarify things before making a new suite.

Shane

[Shane Dillon]

Does the 1700 deck have a Firewire option for capturing to the FCP system?

And am I right in assuming that if I go down the FCP route I don’t need a Panasonic FRC?

And would I be working in SD for offlining on FCP, or am I forced to work in HD if I have variable frame rates?

Thanks again,

Shane

[Shane Dillon]

I have to produce good results from chromakeys shot on various formats and if you have the choice, shoot your chromakeys on a green background as opposed to a blue one if you are going to use the DVCProHD format.

You see the ‘blocking’ from the format much more on the blue than the green. As Gary said, avoid compression if you can, and record in via the HD-SDi. I have to be honest the HDCam is slightly better for keying as it records more pixels for a start and on tests I have performed shows more details in fine things like hair etc.

My advice is to make sure that everything is lit well as you will see the blocking in darker areas.

I tend to use Quantel to do all keying as it has the tools to get round even badly shot material.

[Shane Dillon]

I have worked with both the cameras and had little problem with either in regards to weather effecting reliability.

The F900 I have seen both in action in -30 degree weather in Sweden and on an OilRig off the coast of Norway. The Varicam had a slight problem on the Oilrig as it had some interference recorded due to something on the oilrig. I also have had the f900 pushed in sandy conditions in Austin USA right in the height of summer and had no problems at all.

Actually I know for a fact that the F900 (and F950’s) were really put in varied conditions when test shots were recorded by ILM at the edge of an active volcano. Again no problems at all.

I also have seen the Varicam in really hot conditions in Arizona USA perform with no problems.

I think as long as the camera is looked after and serviced there should be no problems.

[Shane Dillon]

Thanks,

I just got an email from Oliver Carmona at Panasonic and he said basically the same.

Shane

[Shane Dillon]

I have sent emails to Panasonic requesting answers about the new camera and whether or not as a facility we woule be required to buy more VTR’s to support the format.

It has been 7 days now and still I have had no response other than that there is a new varicam camera on the way.

I will try calling a few friends at Panasonic in the UK soon.