[Toke]

Hmm, no 1080p with AJ-HPC2000…?

[Toke]

[gary adcock] “So NO you cannot accurately judge any NTSC SD interlaced content correctly on any computer screen.”

You can use most of crt computer screens in interlaced mode.
But who wants to shoot interlaced with hvx200?

[Toke]

[gary adcock] “You are doing yourself a great disservice — no computer monitor cannot properly judge an NTSC image.”

Unless you have enough high quality “computer monitor” and you calibrate and profile it to look exactly like ntsc monitor.
We are living the hd era and “television”, “computer monitor” and “theater screen” are rapidly merging.

[Toke]

You can’t calibrate & profile display with just software scope.
You need to have a meter that reads the output (like EyeOne).

This might be interesting:
https://risingsunresearch.com/spaceproduct.html
Anybody have any experience?

[Toke]

Thanks both, but we are looking something a bit more accurate for the whole color space.
I’ll ask around and if I find something interesting, I’ll let you know.

[Toke]

[Chris Baldwin] “The 1TB G-Raid will most likely be put on a shelf with the RAW files as the method of archiving.”

I’d say that external raid-0 combination of disks is the most unreliable solution for archiving.
If one of those hard disks inside does not start after couple of years on the shelf, then all footage is lost.
Raid-0 is good for fast on-line editing, but even then I’d make a backup.

[Toke]

[toke lahti] “https://h18006.www1.hp.com/storage/tapestorage/ultriumdrives.html”

And the datarate is 80MB/s _uncompressed_ with Ultrium 3.

[Toke]

[Chris Baldwin] “Thanks for the Ultrium 3 (LTO) sugestion. Is this what you were talking about?
” target=”_blank”>https://www.ultriumlto.com/”

Try this:
https://h18006.www1.hp.com/storage/tapestorage/ultriumdrives.html

[Chris Baldwin] “So it requires an operating CPU and we’re using FCPHD on a Mac. How would we set that up if we wanted to use a Mac?”

Buy a scsi card and attach the tape drive to that.
Use any handy back-up software like Bru.

[Chris Baldwin] “Lastly…And this is a question simply about P2’a MXF archiving capability. Do all these solutions archive the whole set of MXF Metadata?”

If you archive the original raw data from p2 cards, then you have identical data compared to what camera has recorded. It’s just copying digital data in file format. No more videostreams and loosing any metadata. (Like recording date & time with dv/cam/pro.)
So far converting mxf to qt for editing with cfp does loose all metadata, but this might change when fcp6 comes.

[Toke]

[JeremyG] “Out of After Effects, we can render out any codec we want, but when the footage is digitized @DV50, we see a lot more lossiness in the video portions of our rendered projects. The loss is lessened when we digitize the footage in uncompressed.”

First I think using word “digitize” isn’t right when you are capturing already digital data from tape.
This raises a question: why there is “lossiness” differences between these two dataflows:
1) dvcpro50 -> decompress -> sdi -> after effects -> uncompressed
2) dvcpro50 -> firewire -> decompress -> after effects -> uncompressed
?
Data is digital all the way, so which stage calculates an error?
Lossiness will appear if you export and import footage from/to AE multiple times with dvcpro codec, but if you keep the material uncompressed after first import, where does the change come from?
Wrong color spaces & color space conversions?

[JeremyG] “We couldn’t figure out a way to archive our footage without spending a bunch of money on some sort of redundant RAID system that would eventually get all filled up.”

Ever heard about Ultrium 3 (LTO)?
400 gigabytes to one tape and 80(!)mega_bytes_ per second tranfer rate.
Very archivable and reliable if data is verified after copying.
And a lot cheaper per GB than dvcpro(hd) tape.

[Toke]

My guess is that Panny is now able to deliver more hvx’s than there is demand (even their yield has gone through roof or pre-orders are now delivered). So it’s time to make more demand with price reduction.