[Tom Brooks]

When you have a spanned clip, you need to have both P2 Volumes containing the parts of the clip mounted during log and transfer.

Final Cut Pro 6.0.5, Mac OS-X 10.5.5, Quicktime 7.5.5, Adobe Prod Prem CS4, G5 Quad 2.5, Kona-LHe V6, 8.5GB RAM, Nvidia GeForce 7800-GT 256MB, G-RAID 2x1TB FW800, 6TB RAID-5 (Enhance E8-ML, Highpoint 2322), Panasonic HVX-200P P2. Also MBP 17″ Core 2 Duo 2.5, 4GB, GeForce 8600M GT 512MB.

[Tom Brooks]

Hey Paul,
I’m not familiar with the XDCAM workflow, so I can’t give you much advice on the specifics. In general, what you need is to either not remove pulldown from the original footage when it’s captured or re-add pulldown so that you end up with 29.97 footage that can be more easily combined with your SD material. Nattress has a plug-in called “G Add Pulldown” that might work for you in part. Perhaps the XDCAM stuff can be conformed to 29.97 in Compressor and then, using the Nattress plug-in, have the pulldown re-added. Re:Vision FieldsKit also does this. It’s going to take some learning on your part to get it right.

Or, another strategy would be to work with a post house that can convert the HD stuff properly for you.

I meant to also mention to be sure your sequence is fully rendered–not just previewing in Unlimited RT.
Unlimited RT will give you blurry playback with some settings (check manual).
-Tom

[Tom Brooks]

You should start with the DVCProHD 720p24 Easy Setup. Then create a custom easy setup with A/V devices set to Kona LHe 720p59.94. The goal is work in a 23.98 progressive sequence and to have your output via HD SDI set to 720p59.94.

Final Cut Pro 6.0.5, Mac OS-X 10.5.5, Quicktime 7.5.5, Adobe Prod Prem CS4, G5 Quad 2.5, Kona-LHe V6, 8.5GB RAM, Nvidia GeForce 7800-GT 256MB, G-RAID 2x1TB FW800, 6TB RAID-5 (Enhance E8-ML, Highpoint 2322), Panasonic HVX-200P P2. Also MBP 17″ Core 2 Duo 2.5, 4GB, GeForce 8600M GT 512MB.

[Tom Brooks]

Hey Paul,
Your material should all be compatible with a normal, lower-first, interlaced sequence with a frame rate of 29.97. You should not be using a sequence with a 23.98 frame rate.

Perhaps your problem has more to do with how you are monitoring your sequence. Do you have an analog I/O device so that you can ultimately view your rendered sequence on an interlaced TV? In a case like this, with mixed footage and TV being your desired end point, it’s very important. Viewing only in the Canvas will not show you everything you need to see in the final product.
-Tom

[Tom Brooks]

There should be no confusion about P2 drivers. The latest from Panasonic are the right ones. In fact, I’m not sure you even need a P2 driver to log and transfer from an existing P2 folder.

The fact that your system does not recognize the camera is troubling. That does indeed suggest either a P2 driver or a camera firmware problem.

I would also suspect things like file system permissions and directory structure. It would not hurt to try repairing permissions and then go to a product like Disk Warrior to check your drives. Use with all due precautions, however.

Final Cut Pro 6.0.5, Mac OS-X 10.5.5, Quicktime 7.5.5, Adobe Prod Prem CS4, G5 Quad 2.5, Kona-LHe V6, 8.5GB RAM, Nvidia GeForce 7800-GT 256MB, G-RAID 2x1TB FW800, 6TB RAID-5 (Enhance E8-ML, Highpoint 2322), Panasonic HVX-200P P2. Also MBP 17″ Core 2 Duo 2.5, 4GB, GeForce 8600M GT 512MB.

[Tom Brooks]

[Tom Hann Jr.] ” Maybe I need to upgrade to FCS2. “

My first guess was that your current version of FCP doesn’t support the cameras. Those are pretty advanced cameras. Bringing FCS up to date with them is a good investment, in my opinion.
-TB

[Tom Brooks]

Hey folks,
What happened to the seemingly once-common practice of capturing Beta by passing it E-E through a DVCAM machine? True, you end up in the DV codec. But it seems to me a lot of folks avoided buying analog I/O devices by doing this. A typical setup would employ a Sony DSR-1500A DVCAM VTR. You hook the Beta to it via component analog. The 1500A converts the video to DV and connects to the computer via FireWire. You control the Beta deck via RS-422. You output the same way–through the 1500A. Not sure if this works with a DSR-45. It’s not my cup of tea because I have a lot of Beta-SP footage to deal with. But for the occasional foray into analog…
-Tom

Final Cut Pro 6.0.4, Mac OS-X 10.5.5, Quicktime 7.5.5, Adobe Prod Prem CS4, G5 Quad 2.5, Kona-LHe V6, 8.5GB RAM, Nvidia GeForce 7800-GT 256MB, G-RAID 2x1TB FW800, 6TB RAID-5 (Enhance E8-ML, Highpoint 2322), Panasonic HVX-200P P2. Also MBP 17″ Core 2 Duo 2.5, 4GB, GeForce 8600M GT 512MB.

[Tom Brooks]

Am I getting loopy?

[Tom Brooks]

When I use Log and Transfer, it’s like this:
You open Log and Transfer. You add a P2 folder in Log and Transfer. This puts a list of clips from the folder in the top left pane of the L&T window. You may view clips, log, and add notations on the right side of the window.

You then select the clips that you wish to transfer and you click on the “Add Selection to Queue” button. The clips are now transferred to your scratch disk in a batch. Then you close the Log and Transfer window. Voila. The new clips now appear in your current Logging Bin. Save the project.

Spanned clips require both folders containing them to be loaded at the same time in order to properly transfer.

Final Cut Pro 6.0.4, Mac OS-X 10.5.5, Quicktime 7.5.5, Adobe Prod Prem CS4, G5 Quad 2.5, Kona-LHe V6, 8.5GB RAM, Nvidia GeForce 7800-GT 256MB, G-RAID 2x1TB FW800, 6TB RAID-5 (Enhance E8-ML, Highpoint 2322), Panasonic HVX-200P P2. Also MBP 17″ Core 2 Duo 2.5, 4GB, GeForce 8600M GT 512MB.

[Tom Brooks]

The method changes from FCP 5 to 6. Now it’s Log and Transfer.

I think maybe Steve pegged it on that one.