[Tony]

Leo,

I was at a SMPTE Digital screening once where the majority of engineers bitched and moaned about why all those “film people” like the 24 frame film look instead of 60P which many engineers preferred.

Arguments of better temporal resolution etc were the primary reason for preferring 60P over 24P.

The ironic thing is everytime I do a 24P shoot followed by a 60i shoot my brain is confused and it thinks something is wrong with the camera because of the shock in temporal feel and look.

24P is a beautiful thing when used correctly and in the hands of talented and creative individuals.

Tony Salgado

[Tony]

I forgot to add that you might try running the footage thru the UFC-1800 to cross convert to 29.97 PSF. You can do this all in real time. It will not be cheap to do this when you add up the hourly cost of the UFC-1800 and the two dvcproHD deck needed to make the dubs.
You can either dub across all the original camera tapes or make a selects reel and dub that across only.

I have done this with 480 60P material. The temporal look is quite different than 60P and does take on a more filmic feel.

Tony Salgado

[Tony]

Frame rate confusion can be commonplace for those inexperienced producers and or operators who just don’t understand the importance.

A simple thing to make them remember it for life is to play it fast and loose with their paychecks and change all the six’s to three’s and see if they care to complain about the difference.

Afterall if it did not matter to them for the camera why would a change in pay matter to them on the paycheck.

$6000 versus $3000 is that really a big difference afterall?

Tony Salgado

PS- Next time send the camera spec information directly to the DIT, camera operator or rental house and call just before they roll tape at the location to verify the camera has been set to the proper frame rate.

Don’t take anything for granted in multiframe rate HD camcorders or you will end up dealing with the headaches later.

[Tony]

I am sorry to say that you must purchase a very special FCP plugin to enable the very special 16×9 scopes which take up more CPU and desktop space than the 4×3 versions.

Please go to the Apple FCP 16×9 WFM/ bars and tones download page to receive the latest 16×9 drivers.

But seriously did you check the waveform pulldown menus to see if you are viewing the canvas or viewer, current or all frames etc options?

Tony Salgado

[Tony]

Karim,

SDI in this case is not Strategic Defense Initative instead it stands for
Serial Digital Interface, SDTI is Serial Digital Transport Interface.

SDTI is not unique to Sony only. Sony and Panasonic decks can have both SDI and SDTI inputs and outputs.

In an nutshell the only method to obtain a true digital clone is via SDTI not SDI.

SDI dubs results in compression taking place each time. SDTI does not.

The Kona 2 does not have a SDTI inputs only SDI.

Tony Salgado

[Tony]

Gary,

I was not referring to the signal laid down on tape instead I was referring to the digital signal processing in the camera head. No current HD camcorder can record more than 8 bits to the onboard vtr.

FYI In cameras Bits refer to more than just the signal laid down to tape.

Tony Salgado

[Tony]

Info on the 27H is now available at Panasonic’s website. One Major difference between 27F and 27H is 10 bit versus 12 bit. List pricing is still the same between the two.

Tony Salgado

[Tony]

You need to understand why it is you want to change something, or it is you can accomplish it, and what the end results (positive or negative will be as a result of the change.)

Correction to the phrase above I meant to say the following.

You need to understand why it is you want to change something, how it is that you can accomplish the change, and what the end results will be (positive or negative as a result of the change.)

Tony Salgado

[Tony]

Leo’s suggestion to find an experienced video controller or DIT is highly recommended when playing around with the internal menus on any camera.

You need to understand why it is you want to change something, or it is you can accomplish it, and what the end results (positive or negative will be as a result of the change.)

Without using the proper instrumentation as well as monitor you can create major issues later downstream in post production.

The best piece of advice I can offer is always have a scene file saved which allows you to return to your original starting point so you can compare what you have done as well as get out of a major mess you may have created.

Tony Salgado

[Tony]

James,

Part of the issue is the upkeep on the gear itself and regular servicing of the gear.

Another issue is the types of clients who abuse or take care of the gear itself which can result in alot of wear and tear on the gear.

Head life on DVCPRO camcorders has been a major issue by several major LA rental houses who have mentioned this issue to me. Your best source of information is to talk to the engineering staff at several major rental houses and ask them about the problems they have had with any HD camcorder systems.

Transport noise has been an issue with F900 as they age. Dead pixels are a common problem with both Sony and Panasonic.

The only cameras I have been pleased with long term are Ikegami cameras which in my personal experience are built to last long term and deliver an beautiful image.
You can’t beat the service center I have received from Ikegami compared to the horrible service I have had to deal with Sony.

Tony Salgado

Disclaimer: (The Sony service center I dealt with has great engineers it is the administrative support personell who leave much to be desired.)