Tony
Forum Replies Created
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Your 30p is actually psf (progressive segmented frame).
This means that the frame is composed of two subfields which contain the same moment in time divided into an odd and even set of fields. The image is indeed progressive but the vtr is tricked into thinking it is interlace because of the two fields.
Interlace contains two fields created from one frame but each field contains two moments in time separated by 1/60 of a second.
So in your case you do not need to do anything to work with the footage in FCP.
Keep in mind when shooting in 30P you will have more motion blur than when in 60i mode because of the actual exposure time at the CCD 1/30 sec versus 1/60 sec. You can reduce the motion blur in 30P by activating the camera shutter and setting it to 1/60 when shooting in 30P mode.
Tony Salgado
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Jean,
If I may suggest to avoid confusion when referring to these new breed of cameras you should specifically refer to HDV versus HD.
HDV is the prosumer line of JVC, Sony and Canon are offering among other brands. The Canon however also allows outputting HD-SDI for external recording.
HD in my world would refer to the high end professional series Sony F900/F950 Cine Alta, Panasonic VariCam, Grass Valley Viper,Panavision Genesis etc
In the middle of all this is the forthcoming HVX-200 dvcproHD P2 camcorder.
The high end high def cameras handle low light very well so I am confused at the statement you made. Prehaps David meant high lights which is still an issue with most of the low end HDV and high end HD cameras with the exception of the Viper.
Regarding the ease of use of tiny switches and controls it should be noted that none of the HDV prosumer as well as some of the mid to high HD camcorders are designed or tailored specifically to match the ease of operation on existing motion picture cameras. Using a prosumer product in an environment such as a film feature is at best a painful experience for those DP’s who are accustomed to working with professional motion picture equipment and accessories. The concept is similar to using a stock volkwagen bug to race at next year’s Indy 500.
The exception to the rule are new HD cameras designed by Panavision Genesis and Arri D20 which started out with a film style body design from the beginning.
Image quality is only one part of the job ease of operation and quick access to controls are vital when time is of the essence.
Regarding the large lenses if you think they are big you should take a look at most of the Panavision film or digital cinematography line of lenses. When mounted onto a F900 the camera is the size of a handheld missle launcher.
One last note 9K for the Canon camera is quite cheap given it offers HD-SDI output as well as genlock and timecode I/O.
The introduction of that camera will most likely start a price war between the other manufacturers hoping to gain an edge.
Tony Salgado
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Jay,
The best time to check the vtr and camera menus during or just after the load in. Grab the camera before it gets mounted onto the dolly or tripod as this is valuable and necessary tech time to QC the camera.
Tony Salgado
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2) I know you have to do it sometimes, but you don’t playback from camera unless you have to. Please don’t take this as a lecture–but I just think your point is sort of needless because of this.
What the heck are you talking about? Or course any professional VC or DIT would always playback takes from the camera to QC the material recorded.
The roots to this disinformation may have resulted from a “film culture myth” that playing back camera masters in camera is dangerous or can cause dropout and/or damage the tape. However the camera should never be used as a playback device long term for capturing due to excessive hours on the playback heads as well as the transport motor. The latter is for the protection of the camcorder headlife.
I have heard countless stories on unqualified camera operators or even DP’s rewinding a tape and not recueing the tape and then recording over valuable takes. This is not a tape problem instead it has to do with the level of stupidity of the crew involved.
I have never had any issues or problems playing back from any camcorder. Here is a quick tip- slide the recording tab over to write protect the tape when doing a long playback.
Since you have not had the displeasure of using firewire capture let me tell you that the usefulness of it in the field with a powerbook under a serious tight deadline is a complete joke. I am not referring to the quality but rather the slow as molasses vtr firewire control which takes 20 seconds of cueing per each clip before the capture occurs. The only fast method to use is 422 deck control and use the firewire for the video in. In this case you are most likely using a powermac such as a G5 for capturing.
Using a powerbook for editing dvcproHD is less than ideal especially when you need to use the FRC plugin. I did a speed test on a powerbook, G4 and G5 with the FRC plugin and discovered a G5 can take 10 seconds to convert a clip whereas a powerbook took as long as 2 1/2 – 3 minutes per clip.
If you have access to a Kona 2 card you should test out the following capture scenario.
HDSDI out of the 130 to the Kona 2 which captures in dvcproHD. Yes this compresses the image again but the resulting image quality is worth it for the those who do not have the luxury of a firewire output on the playback vtr. 99.9% of clients will never be able to tell any visual difference.Regarding pricing on the deck I was only referring to list pricing as the discount varies depending on from whom it is purchased from.
If you really are disappointed with your 130 deck you should consider selling it.
Tony Salgado
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“P2 seems to be the right product for harsh environments–heat, cold and humidity do not affect it the way these affect tape.”
Well the real test of any camcorder in a extreme cold or heat environment is how well is the body itself protected from the harsh environment. A poorly designed camera body may resulting in melting,warping or cracking.
FYI I spend a month in Alaska with D600 betacam sp camcorders in weather as low as -15 degrees F with a severe wind chill and never had any camera or tape problems. None of the cameras had any porta brace camera covers at all. You would be amazed how robust the betacam sp high end bvw series camcorders are.
Lenses in cold environments however will have problems with the zoom motor lubricant.
Tony Salgado
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Blayne,
Actually I don’t think anyone would want a HD-SDI to firewire converter for camera mastering recording because it completely defeats the purpose of preserving the native dvcpro HD codec intact from the beginning.
Instead you would have another level of compression occuring during the conversion from dvcpro HD to HDSDI back to dvcpro HD.
This is a less than ideal solution to preserve the native dvcpro HD recordings.
FYI the 1200A fully loaded and capable or recording as well as HDSDI and SD SDI I/O, firewire is closer to 35K approximately.
The base unit at 21K is a playback vtr only with no recording and no HDSDI or firewire card.
One major advantage of your 130 deck is the ability to record SP masters which will playback in the Varicam. The 1200A is the newer EX model which cannot record a master which can be played back in the Varicam.
In addition you can’t playback a recording made in the 1200A in early dvcpro HD vtr’s such as the 130.
If you want firewire out of your Varicam for on set video assist then consider the newly released Evertz fibre camera adapters and base stations which have a dv 25 firewire out as well as NTSC, SDI, HDSDI.
One item to keep in mind for future equipment purchases. Never buy the first generation model “A” products because you are the R&D for the manufacturer and within six months to a year a better cheaper alternative will be available leaving you behind in the dust.
If you can afford to rent the additional gear do so thereby allowing you time to wait for the next generation gear.Tony Salgado
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You can still output HDSDI into a Kona 2 and retain the FRC flags.
I personally despise using firewire vtr deck control as it is so slow and painful to watch.
Tony Salgado
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Yes Frank you are correct,
I will use the proper term amplitude not saturation.
Tony Salgado
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I am sorry to tell you John but these files are now invisible and will require hiring a HD private investigator to find the files for you.
Please call the following HD PI’s
1-800-Files-be- Found
877-Files-Are-US
Ok just kidding
Right click on the file in the browser and select item properties which will have a column telling you where the clips is on the HD. Then you can either import then to the right project or use the finder to move them to the right project folder.
Tony Salgado
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Well first of all are you going to capture via firewire or SDI?
Either will have implications on if you should shoot 24P or 24PA.
Tony Salgado