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rand courtney
p2 issues
on Dec 5, 2010 at 3:30:50 am

Hi there -

I was just hired on a very large gig to shoot a reality tv show using my HPX170 using P2 cards. I have always just logged and transferred into FCP and that was fine for me because most of my stuff was winding up on the internet in some compressed form or another. I am under the impression that there is some compression when I transfer the footage that way since it transfers everything to MOV files. I don't know if this is going to be acceptable for the network I am shooting for some I am asking you guys if you might have the best option for me to deliver uncompressed footage to their editors.

One other question

Their standards of shooting require footage to be at 29.97 FPS but my camera only shoots in 24, 30, and 60. What do I do about this?

I am shooting at 1080i...

much thanks for any help you can give.


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Jayasri Hart
Re: p2 issues
on Dec 5, 2010 at 6:21:18 am

I usually put a rough assembly together in the native DVCPro HD format and then copy the cut to a Pro Res 422 HQ timeline. When that timeline is rendered, you should have the best quality available in FCP. I don't think Compressor is any better, but I don't have the latest version that, I believe, was released with FCP 7.

Hardware transcoding (Terranex) is better but expensive.

As for the framerate adjustment, you might find the answer here:
http://forums.creativecow.net/thread/8/1070402

I've never had to do it.

Good luck!

Jayasri Hart
HARTFILMS
Los Angeles, USA


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Shane Ross
Re: p2 issues
on Dec 5, 2010 at 7:59:52 am

[Jayasri Hart] "I usually put a rough assembly together in the native DVCPro HD format and then copy the cut to a Pro Res 422 HQ timeline. When that timeline is rendered, you should have the best quality available in FCP."

That's pretty unnecessary. You won't gain ANY quality doing that...all you will gain is larger file sizes. And HQ is overkill for 8-bit formats, which DVCPRO HD is. But going to ProRes is completely unnecessary in this instance.

[Jayasri Hart] "Hardware transcoding (Terranex) is better but expensive."

To do what? There is no reason to use this hardware in whatever workflow you imagine in this circumstance.

Shane



GETTING ORGANIZED WITH FINAL CUT PRO DVD...don't miss it.
Read my blog, Little Frog in High Def


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Jayasri Hart
Re: p2 issues
on Dec 5, 2010 at 11:26:54 pm

Thanks, Shane. I had always suspected that unless it's HDV compression, it's better all around to edit and finish in the native format, but the larger filesize seems to please clients. The colorspace for DVCPro HD is 4:2:0, right, rather than 4:2:2 (or 4:4:4 as in HQ) as well as being 8-bit?

I have used Terranex services for standard conversion--1080i 50fps tape footage to 60 (59.94)and SD to HD for HDCam delivery (as you suggested to Rand, I asked the client, in this case PBS). If you have any thoughts or information links on hardware-based conversion, I would be grateful.

Also, the camera that Rand is using seems to allow a variable frame rate but the manual only states round numbers. I wonder where one can find out more.

Jayasri Hart
HARTFILMS
Los Angeles, USA


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Shane Ross
Re: p2 issues
on Dec 5, 2010 at 11:35:07 pm

[Jayasri Hart] "The colorspace for DVCPro HD is 4:2:0, right, rather than 4:2:2 (or 4:4:4 as in HQ) as well as being 8-bit?"

Half right. It is 4:2:2...but 8-bit. Still, going to 10-bit doesn't gain you anything quality wise. I typically only take the GOP formats to ProRes...HDV, XDCAM, AVCHD...because they are easier to edit. DVCPRO HD is already 4:2:2, and easy to edit.

[Jayasri Hart] " have used Terranex services for standard conversion--1080i 50fps tape footage to 60 (59.94)and SD to HD for HDCam delivery "

YES...for that I agree. Standards conversion for PAL to NTSC, or vise versa. Or for SD to HD if you can afford it. But from HD to SD it isn't necessary...capture cards go a great job of downconverting HD to SD when they output (AJA, Matrox). And if your budget is low, they do pretty good upconverts too...hardware based. I have used them for that for a couple years now. But NTSC to PAL I have always used Terranex.

[Jayasri Hart] "Also, the camera that Rand is using seems to allow a variable frame rate but the manual only states round numbers. I wonder where one can find out more."

Sorry, the manual states all the proper frame rates. 24, 23.98, 25, 29.97, 50i, 59.94. I had that camera and had the manual. That camera shoots the proper frame rates. If it is PAL, it shoots the proper PAL frame rates. IF NTSC, then it shoots all the proper decimal frame rates. It does not shoot only 24, or 30, or 60. 23.98, 29.97, 59.94....that's what it shoots.

Shane



GETTING ORGANIZED WITH FINAL CUT PRO DVD...don't miss it.
Read my blog, Little Frog in High Def


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Shane Ross
Re: p2 issues
on Dec 5, 2010 at 7:56:52 am

[rand courtney] ". I am under the impression that there is some compression when I transfer the footage that way since it transfers everything to MOV files."

Your impression is wrong. All FCP does is copy the files from the card to the Capture Scratch, marrying video and audio...and wrap them into QT so that FCP can work with it. ZERO quality loss.

[rand courtney] " I don't know if this is going to be acceptable for the network I am shooting for "

WHich network? I have been using this footage, as DVCPRO HD (brought it in natively, without converting after) for more than a few networks. Just delivered a show that was ENTIRELY shot with the HVX-200 and HPX-170 to the History Channel.

[rand courtney] "I am asking you guys if you might have the best option for me to deliver uncompressed footage to their editors. "

Give them the raw card files. Backup the full card structure of each card, and give those backups to the client/editors. This way they can use the footage in whatever editing app they happen to be using. Because if you import the footage into one NLE...say FCP, then Avid won't be able to see it. Or into Avid, then you can't use the footage in FCP. Because how they import media differs from the other.

Also...TALK TO THEM! Ask them what they want. ALWAYS.

[rand courtney] "Their standards of shooting require footage to be at 29.97 FPS but my camera only shoots in 24, 30, and 60. What do I do about this?"

No, your camera shoots 23.98, 29.97, and 59.94. You are a camera operator and you don't know this? This is fairly basic.

[rand courtney] "I am shooting at 1080i..."

Which is a 29.97 format.

Shane



GETTING ORGANIZED WITH FINAL CUT PRO DVD...don't miss it.
Read my blog, Little Frog in High Def


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