[Tony]

Will the real slim shady please stand up!!!

The subject of assembling editing via the 1200A has lead to massive confusion and multiple stories.

So who is right? Steve Mahrer from Panasonic stated on the Varicam forum that no editing is possible the 1200A. But Walter has stated it can be done. Bob can’t be stupid in his quest to seek the truth regarding this mystery.

So who and what configuration makes one 1200A not work and the other work.

To settle this matter I am now offering a ten dollar reward to anyone who can prove the 1200A can do an assemble edit. You must supply the specific menu settings as well as hardware options required.

Thanks to all,

Tony Salgado

[Tony]

For a permanent installation multicamera switched production a camcorder is not the most ideal solution. One major question you need to address is if the 24P mode is needed at all for your scenario. If not you should be considering 1080i or 720P studio style cameras which work with a base station. One fiber cable or even triax would carry video,PL,intercom,return video,tally,genlock etc between the camera head and base station. You could feed HD to the IMAG projectors but feed SD to the recorders in the event you don’t need to record in HD.

At the base station you could downconvert to feed NTSC monitors or recorders as well as outputting HD.

If you go the 720P route one camera could be a varicam for location shoots as well as the multicamera production.

You should consider renting a flypak with the gear you are considering prior to buying all the gear to verify if the entire package fits your needs.

I recommend contacting a rental house such as Bexel to discuss HD flypaks.

Good luck,

Tony Salgado

[Tony]

Chris,

There was a brief mention by one of the P2 presenters at NAB 2005 regarding a future D5 camcorder. No release date only news that it was in the works.

Tony Salgado

[Tony]

Mellisa,

On dvcam if you are going to capture via firewire into FCP the reference level should be -12 db. What you have encountered is a common problem encountered during post production because no one has taken the time or effort to ask the proper questions regarding what the exact post production workflow will be and how that effects how the field audio should be recorded at.

Next time please communicate to the sound person what you post production workflow is so he/she can better understand what to do in the field (assuming they understand the implications necessary for post production with FCP or any other NLE.)

You cannot increase the audio level playback level during a firewire capture because you cannot effect the digital firewire signal. You must adjust the levels in your sequence or on a per clip basis after it has been captured.

Tony Salgado

[Tony]

Bob,

The are different models available one I consider the lightweight version and the other one which I have is heavier duty.

Contact Nalpak which is the manufacturer of the cart.

Tony Salgado

[Tony]

If you are capturing via firewire you will not have any audio level control during capture.

You will have to adjust the levels in your sequence afterwards.

Tony Salgado

[Tony]

Bob,

I have had my rock n roller cart for close to ten years now and it has traveled around the world with me.

One of the best investments and tough products I have ever purchased.

Tony Salgado

[Tony]

Doug,

You are missing the point on using a laptop PC monitor versus a CRT for critical image monitoring. It has nothing to do about observing the video signal on a waveform or vectorscope but rather the LCD monitor itself which cannot be trusted in terms of resolution (for focus) gamma, brightness, black level, dynamic range,color etc etc.

There is no sense in using a waveform/vectorscope if the monitor you are using is technically incapable of displaying a color critical accurate image.
You will be actually fooled by an inaccurate monitor regardless of what the dvrack tells you.

Tony Salgado

[Tony]

Charge them hourly since you cannot be expected to give away your time based on the client’s lack of expectations.

Better yet turn down this nightmare job.

Tony Salgado

[Tony]

Gramme,

Your point on news outlets having no problem rerecording over source tapes really means nothing due to the fact news stories are temporary.

P2 is the ideal recording format for news outlets where re-using the original source media is a requirement. An average 90 sec daily piece does not require more than a maximum of 40 minutes of source footage.

In the world of commercia,features and broadcast long form programming the current expectations for a producer are for the camera masters to be an asset which can be used long term.

When the price of P2 drops to match tape stock I can foresee many tape based producers considering a switch. Ultimately it will be the clients and producers who must live with the perils of any new technology that will make the final decision regardless of any marketing hype that attempts to convince them to switch their current workflow.

Tony Salgado