Tony
Forum Replies Created
-
The dsr 1500A only plays back dvcpro which is 25mb 4:1:1. DVCPRO 50 is 50 mb 4:2:2 and will not playback on the dsr-1500A. DVCPRO 50 playback requires a Panasonic vtr which is capable of playing back dvcpro 50.
FYI when playing back dvcpro in the dsr-1500A the only active outputs are the analog outputs not the firewire.
Tony Salgado
-
What items or features were you hoping to see in the IO?
Tony Salgado
-
Biker,
FYI 100% saturation on bar is the standard for HD but the more common approach is to use 75% saturation.
In the world of Standard def 75% bars is the common standard.
The easy check is the bars vector fall short of their targets.
Tony Salgado
-
Josh,
Since their is no native HDCAM codec in FCP I assume you will be working in either 8 or 10 bit uncompressed HD. In this case do you have the proper hard drive raid which is fast enough to deal with such bandwidth?
You should plan to rent a multiformat monitor which is capable of displaying HD and SD for quality control checking as well as a HD waveform monitor.
Tony Salgado
-
Gavin,
You may not be aware of the close relationship Apple and Panasonic developed for FCP HD to incorporate dvcpro HD as well as dvcpro 50 for FCP. This relationship is responsible for putting the Varicam on the face of the earth as before this “arranged marriage” existed the major issue was “what the hell do you do with footage you cannot easily edit with?”
Sony is not going to offer a solution that takes away from their own NLE systems as well as formats. Adobe is a more likely candidate in my best guess but Panasonic already has a partnership with Apple.
Regarding the internal issue you had with the Panasonic rep please let us know who or what department you were speaking to. Not every department is up to speed with every product the company makes or develops nor are these individuals as wound up around the details we as end users are concerned about. The same issues you mentioned exist at Sony,JVC,Apple,Microsoft, Exxon,The White House, and FEMA also.
The company that I have found that I never have an issue with regarding knowledge, technical and customer support is AJA. However AJA is a rare jewel to be found in this industry of which no other company can match.
Tony Salgado
-
Scott,
On a big budget show this problem most likely would have not occurred and if it did it would be reason for a reshoot.
The sad reality is major mistakes like this occur on very low budget jobs where such costly errors cannot be afforded. The DP or camera operator needs to be made aware of this costly error so that he or she never does it again and they fully understand how much this mistake will end up costing the production in addition to their own professional reputation for the sloppy work they did.
Now for the reality check. If this project really has a chance for a film out more money would have been spent on the crew to avoid this problem in the first place.
Since money is a major issue here I highly speculate that this project will go straight to video even for entry into film festivals and never see the light of day on a film out.The money saved on not hiring a professional crew to avoid this mess will be wasted on converting all the 29.97 footage to 23.98. So I have to honestly ask if the producers of this project could not afford to hire a professional crew to avoid this costly error how can they all of a sudden afford to try to fix this mess in post. The answer is they mostly like can’t and will not once they found out the small fortune it will cost to run the footage thru a teranex.
So why not face reality and cut the show in 29.97 for both the 23.98 material and the 29.97 thereby working on a common timebase sequence and then reverse the entire show back to 23.98 if and when the show ever needs to get out to film.
In conclusion fire the DP or camera operator who let this major F@#$%%Up go by.
Such mistakes are to be considered the “dark side of digital film making”.Tony Salgado
-
Shane,
So major items missing- CRT monitor to view your HD or SD which or course will require a video capture card such as AJA Kona 2.
Audio mixer such as a mackie, speakers, editing console, video and audio cables.
Tony Salgado
-
Doug,
I am aware the Iriver is suitable for a backup recording. I was on a shoot recently where I played with the device in which the soundman was using it as a backup to the audio being recorded onto an F900 HDCAM camcorder.
My comments were directed toward investing in equipment with the principal of R.O.I (return on investment) not just for the sake of having a cool electronic toy.
As long as the device can generate income and pay for itself in the long run than any device professional or consumer is a good investment.
Tony Salgado
-
8241 should be fine but you need to also consider using a video equalizing DA to compensate for video and chroma level loss on such a long run.
Are you sending analog composite video? If you are running SDI 8241 is not suitable.
Fiber requires an encoder and decoder on both ends for “transmitting and receiving” the signals.
Tony Salgado
-
Mick,
You could transcode all the clips via FCP or quicktime from uncompressed to dvcproHD which is compressed.
The major issue you have is you are using the wrong hard drive USB for this application.
I highly recommend getting a firewire 400 or 800 raid if you intend on doing any serious editing.
Tony Salgado