Trevor Ward
Forum Replies Created
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In my humble opinion, shoot 24pA because from what I’ve read, true 24p doesn’t look as good displayed on standard def TV’s. But shooting progressive frame modes is better if your delivery is web. That’s because computer screens show the interlacing and it looks terrible.
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
Just to update. I’ve got the latest version of FCP and there is a slight improvement in the L&T functionality. Final Cut gives you the option of “transferring” the file with a name other than the file name on the card (Clip #1, etc.). You can use “Custom Name and Counter” and then give it a name like “John Interview 001.” FC will then incrementally increase the number.
Although this is a great improvement on the part of Apple, I still would prefer to actually change the file name on the card. I know final cut will keep track of the relationship between the file name on the OS and the file name on the card, it’s not totally clean, because “Clip #4” doesn’t necessarily refer to “John Interview 004.” It could be that “Clip #4” refers to “John Interview #1.”
And for that reason, it’d be nice to have the functionality in the camera to change the default clip name to “John Interview” and then let it incrementally change the number.
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
That’s exactly what I would like. Either by uploading the text string through and SD card, inputing it in through the menu, or even after the fact while logging (just like you can do with Log and Capture. I think at the least, FCP should have incorporated this into their software. Log and Transfer is a few years old now (going back to P2 starting out in 07 or so).
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
Except for the fact that Log and Transfer will not let you conform your media. Cinema tools is the best and easiest way to do that.
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
Cinema tools, batch conform. Easy as pie. Well, maybe not quite that easy. But easy and quick.
Just to be clear, if you’ve already transcoded the 60p material into ProRes, then you won’t need to transcode again. Transcode refers to the changing of codecs and/or resolution. If you’re just changing frame rate, then conform is the word you’re looking at.
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
It’s not that I don’t care. It’s that I can handle renaming, sorting, organizing my media within FCP. Your last comment was a little condescending. Or at least it came off that way. I’ve been using FCP for about 5 years now and I’m good at what I do. But I think Panasonic missed the mark here or FC missed the mark. Either way, I should be able to give my clips unique file names so the OS and any program using the files won’t get confused.
And yes, I know that I can rename each clip upon ingest, but that’s just not practical on more than a handful of clips.
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
I don’t care about the names in the BINS in FCP. What I care about are the original files. For example, let’s say I Log and Transfer a card and I have a file called “Clip #1” in the capture scratch folder for that project. Then, I have a different project or, I’ve changed by capture scratch folder for some reason. Then, I do a Log and Transfer for a different card, but in the same project. I now have two different files called “Clip #1.”
Not only is it called “Clip #1” in the FCP bin, but also on the hard drive. What happens when I media manage this project and later want to recapture the footage, or I was using ProRes Offline files and need to online the project? I’ll tell you what happens. A MESS!
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
I believe they hooked up their cable set top box to watch the superbowl in high def. So it IS an HD capable projector. Now, I think it takes dvi connection or possibly component. I asked if it had HDMI and he said NO.
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You must be pretty frustrated that no one is answering your question. That’s one of the problems with this forum. People like to hear themselves speak and they are like politicians or salesmen. So I’LL answer your question.
I’ve edited both P2 media and AVCCAM media. I have a 2 year old MBP, intel core duo 2.16 I think. 2 GB ram. The main difference is in the time it takes for the Log and Transfer step. Wtih P2 media, you take the info off the cards and perform the Log & Transfer in order to make them editable in FCP. They come in as DVCPro HD clips. My MBP does this fairly quickly. I don’t have specs for you, but let’s say I had about 30 minutes of clips and it ingested them all in less than 10 minutes. I stepped away to do something and I came back and it was done.
On the other hand, 30 minutes of AVCHD material (720p) will take me about 35-50 minutes to ingest.
Once the footage is ingested, either the DVCPro HD or the ProRes, they edit nearly the SAME. I do notice that the ProRes files are definitely bigger and take more bandwidth and take a bit more computing power when previewing real time (when having multiple streams of HD or doing heavy effects). But I’m on an old laptop and I can have a couple of streams of ProRes no problem.
And with the new Final Cut, you’ll be able to transcode into either ProRes LT or ProRes Proxy and then you’ll be on par with DVCPro HD in terms of bandwidth and overhead.
Now, as to what you didn’t ask: (Hey, I like to hear MYSELF too). The 170 is a better camera than the 200. The 170 is slightly more versatile than the 150 (more codecs and framerates, etc). As far as image, though, the 170 and 150 are nearly identical. The AVCCAM compression is different and some will argue gives a lesser quality image. The 150 has a wider lens and gives a wider depth of field. And the 150 is much cheaper, especially considering the cost of the media.
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
Good to hear. I’m leaving for India again tomorrow. Bought a Pelican 1620. For going there, I’ll put the camera in my carry on. When coming back, I’ll put the camera in the case. Can’t afford to have the luggage land up in another airport.
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl