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Re: HPX 250 clips broken into 5 min clips

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Sam Lee
Re: HPX 250 clips broken into 5 min clips
on Sep 2, 2015 at 2:32:44 pm
Last Edited By Sam Lee on Sep 2, 2015 at 2:50:11 pm

Panasonic's P2 rich metadata gets cut out in FCP 7 & X. Only camera model, serial #, clip name, & shot marker gets imported in FCP X. With that in mind, the clip name is only useful. I do lots of unscripted docs and have been using generic names. The most useful for me is separating each camera. It's virtually impossible to sort of six cameras using P2's default clip name. You can update the metadata via the SDHC on the HPX-250 or go in and enter it manually. It's a bit cumbersome in the camera but it works just fine. I typically would increment the shoot day clip name in the camera. The only downside to this is that you have to remember to do it everyday. If you forget, that clip name metadata data will forever be stuck. To avoid mistakes, I keep it generic as much as possible these days.

Regarding rewrapping and transcoding in FCP 7: I'd strongly recommend to rewrap the file. That's the default codec handling setting when installing FCP 7. Transcoding to Pro Res 422 from AVC-I takes a lot of CPU time and a bit more hdd space per file. When you have a large raw footage asset, the space adds up to Tb with the transcoded Pro Res 422 or HQ. There's no setting in FCP X to treat the P2 AVC-I 100 media as native or transcode to Pro Res 422 or HQ. Plus the file size for AVC-I 100 & Pro Res 422 .MOV: Pro Res 422 is a bit larger. This gets expensive when you have a big library. You cannot transcode directly from Compressor. Earlier version of Compressor only takes regular clips and not camera raw. Quality wise, I feel more comfortable working in native AVC-I 100 .MOV codec than Pro Res 422 .MOV. It will preserve all of the gamma and other parameters as closest as possible. The most important thing here is FCP 7 & X take in the rewrapped AVC-I 100 .MOV files just like Pro Res 422 .MOV. You can verify that the P2 AVC-I 100 clips are indeed a rewrapped type by simply go to Quicktime and look at its codec setting. It'll state AVC-I 100 vs Pro Res 422.

Come to think of it, I have yet to investigate whether FCP X is forcing all P2 formats like a transcoded media Pro Res 422 HQ. I always wondered why it's so much larger when I import P2 natively in FCP X than when I rewrapped in FCP 7 as a native AVC-I 100 codec. I typically save about 60% of disk space when using FCP 7 rewrapped .mov. That's a huge space saving for large projects. And quality wise, I can't tell the difference between the two: AVC-I 100 rewrapped or Pro Res 422 HQ transcoded .movs. Most of these were shot with the HPX-3100s, PX5000s, and few HPX-250s cams. With that in mind, I don't see a need for Pro Res 422 at the expense of ~60% more disk space needed.

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